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[ { "sents": [ { "text": "It's going to depend a lot on the destination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A violinist or guitarist wouldn't want to take their instrument into the jungle for even a few days.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the pianist...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If possible they would find somewhere to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I used to go to the Canaries a lot, and found some nice schools of music - with instruments, of course.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Went to Russia years ago, ended up buying a guitar to keep practising.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A lot of musos have at least one other instrument to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Often, I'll put a clarinet or flute into the suitcase, small enough, and quiet enough to use almost anywhere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Depending on the destination, (and genre!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "there may well be a band, orchestra or open mic venue that could be explored even before the sojourn takes place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You're right - an edge is usually lost with that sort of time away - trumpeter's lip, fluidity, reading, chords not so frequently played on guitar, but it soon (hopefully) comes back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But most musos would want to have their dose of music at a frequent level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And let's not forget, he'll have his music to listen to, and maybe some dots to follow on the Ipad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 7 } }, { "sents": [ { "text": "Most musicians take a small instrument with them when on holiday, but even if you don't, you still have your voice.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As long as you have a way to record or transcribe then you can still practice and learn.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I often find that a few days away from my main instrument really helps me change my improvisation structure, so I like to listen to a lot of different music on holiday.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That stuff I don't usually hear makes its way into my head and when I return it comes out in my playing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/104/Doktor Mayhem", "score": 7 } }, { "sents": [ { "text": "If you're a serious professional musician you just DON'T take a day off practicing, let alone a month.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your standards (or those of your employer) are lower, you just cope.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, your playing will drop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, it will come back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "The answer to this also depends on how bad you want it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you simply play as a hobby, it may be good to take a hiatus to return with fresh creative inspiration and yearning to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the die-hard, there's so many options with modern technology.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the pianist: Funny story: my mentor, in the days before the technology pictured above, made this little board with a 2 octave run of piano keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He had ingeniously carved the board and attached the keys in a way that perfectly mimicked a piano's action.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, it didn't produce sound...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, he constructed it for the explicit purpose of being able to practice fingering while on vacation/holiday.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He'd continue to use it after that - even driving down the road.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ":P", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yo-Yo Ma buys an extra plane ticket for his cello when he flies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A professional will sometimes ship their instruments to the destination, when they can't be carried.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One can almost certainly line up a gig or two in order to cover any transit costs (playing music is never 'work' for some of us.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have basses in the homes of select friends and family for when I visit, so I don't have to carry around my main squeeze... Or purchase something inexpensive at the destination, as Tim says.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32548/Tim Burnett - Bassist", "score": 2 } }, { "sents": [ { "text": "I'm not a pro", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I have a cheap guitar and mini practice amp and headphones that I take with me, as well as a portable digital piano with a decent feel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I do spend two weeks away from my main gear every year but again, I'm not a pro.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also those two weeks I spend at the beach", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but at a rental cottage that has air conditioning", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so it's ok for wood and electronics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 1 } } ]

{ "question": "let's say you wanted to take a 3 month vacation How would you 'keep practicing?' I mean you don't just forget everything but won't you feel like 'ugh' once you get back on your instrument?", "title": "what do musicians do if they want to take a vacation?", "forum": "music.stackexchange.com", "question_tags": "<practice>", "link": "music.stackexchange.com/questions/51478", "author": "music.stackexchange.com/users/32961/Lenny" }

[ [ "Most musicians take a small instrument with them when on holiday, but even if they don't, they still have their voice. As long as you have a way to record or transcribe then you can still practice and learn. A few days away from an instrument sometimes help change motivation and things you do not usually hear may pop into your head, providing new ideas when you go back ", "Musicians go on holiday to listen to music they don't usually hear. When they return they find that the new music they hear makes their way into their heads. They often find that a few days away from their main instrument really helps them change their structure." ] ]

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[ 7 ]

[ [ "Most musicians take a small instrument with them when on holiday, but even if you don't, you still have your voice. When they return they find that the new music they hear makes their way into their heads. They often find that a few days away from their main instrument really helps them change their structure." ] ]

[ { "sents": [ { "text": "That seems to be a turn.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It is indicated in front of the note so as to tell you to play the ornament before the pulse.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Those will be played very quickly as not to take away too much from the pulse.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "These are just like the cherry on the cake, embellishment, little extra ways in which music is made interesting.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 16 } }, { "sents": [ { "text": "The little notes in this bar ( little as in \"smaller noteheads and beams\") are called grace notes .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They don't count towards the total, and how they are played depends on the context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your example might be played like this:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35852/egrunin", "score": 11 } }, { "sents": [ { "text": "You are seeing, and counting, an ornament.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See it play it, but it has no extra count in this bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is called a turn and is usually played so that it starts at the moment when that last quaver would be played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here, it appears to be wanted to be played so the last quaver is on time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes these are written out in full, using smaller dots than the rest of them, sometimes just with a sign.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are various different ornaments, all being named separately, and the timing can and does vary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 10 } }, { "sents": [ { "text": "Even though they are joined with beams, the 32nd notes are printed smaller than the surrounding notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To my eye, that would suggest that they should be interpreted as grace notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While grace notes are typically printed with a single flag and a slash, a run of such notes would make music hard to read, as would a run of non-beamed sixteenth or thirty-second notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would thus regard the triple beams not as an indicating that the smaller notes should each have a duration equal to one thirty-second note, but rather merely as a means of making a group of grace notes more readable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 3 } }, { "sents": [ { "text": "The 32nd notes are just there to denote a flourish, almost like a pick up to the next note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35648/SaggingRufus", "score": 2 } } ]

{ "question": "Consider: Quarter notes + 4 32nd notes + 8th note. In a 3/8 time signature, there should be no space for the 8th note. What am I not seeing?", "title": "Why am I seeing more notes than allowed to be in a bar?", "forum": "music.stackexchange.com", "question_tags": "<theory><notation><sheet-music>", "link": "music.stackexchange.com/questions/51888", "author": "music.stackexchange.com/users/32596/BioPipeRex" }

[ [ "Those extra notes in a bar will be played very quickly as not to take away too much from the pulse. They are just like the cherry on the cake, embellishment, little extra ways in which music is made interesting.", "That seems to be a turn" ] ]

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[ 7 ]

[ [ " That seems to be a turn. It is indicated in front of the note so as to tell you to play the ornament before the pulse." ] ]

[ { "sents": [ { "text": "They save weight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They don't save a large percentage of the overall weight of the stand, but they make it less top-heavy and therefore more stable when raised high or angled back a long way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just to expand on the question of \"why not just make it thinner?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- the reason for that is because a thicker sheet with holes will be stiffer than a thinner sheet with no holes with the same amount of metal in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It won't necessarily be stronger in every loading mode -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "indeed it may be weaker in some - but with a structure like a music stand, wobbliness becomes a problem long before breakage does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 75 } }, { "sents": [ { "text": "A loose page settles faster on the stand (and is easier to remove)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "when the air behind it can escape.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's at least the reasoning behind the namesake \"vent hole\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In practice, this is of relevance at best when you are playing from one large scotched-together wobbly monster sheet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that case both the settling time gain as well as the removal time may be noticeable: if the monster sheet keels over and peels off the stand, you want it do so while you are still having your hand nearby.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As soon as several loose sheets stack up, the difference is unlikely to be noticeable unless you have static electricity involved.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36397/user36397", "score": 29 } }, { "sents": [ { "text": "I run the sound system at my church, and I have found that the music stands with holes make it easier for the musicians and vocalists to hear themselves in the stage monitors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The solid music stands can block a lot of the sound from the monitors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course a thick book on the stand with holes, also blocks the sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the sound easily passes through a few sheets of paper.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36427/Dave", "score": 6 } }, { "sents": [ { "text": "@topo morto is correct when he talks about weight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It most likely lowers the centre of gravity of the stand, stopping it from falling over.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another major reason is that it would reduce the weight of a shipment of these stands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The weight saving on one stand might only be a few grams, but the weight saving on a container full off these would be significant enough to save on shipping costs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I joined this StackExchange site just to post this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not sure why I care.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36477/Sam Bauers", "score": 3 } }, { "sents": [ { "text": "I agree that weight is probably the reason, but that can't be the whole story – you could always achieve a lower mass by just making the stand out of thinner sheet metal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The problem with that is that it would lack the stability one expects from a proper orchestral music stand, for two reasons: Strength of elements that are much thinner than wide scales with the square of thickness (while mass increases only linearly).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Therefore, if you use just a little bit thicker metal sheet than would be needed as such, you can already cut out a whole lot of weight in form of these holes (which also reduces strength only linearly).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is actually the same reason that the stand stands on metal tubing , rather than heavy solid pillars – at the same mass (where you'd rather call the wires ), these would be much weaker!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not all parts of the surface need to have the same strength.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact most of the forces hinge on the center, where it's attached, and on the edges.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's why there are no holes in the lower center part, and the edges are folding back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 2 } }, { "sents": [ { "text": "Sam is correct when referring to shipping costs, but has missed out a bit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The less material used in manufacturing, the lower the cost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, the metal that would have been in the holes would be used to make more stands from the original metal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Result, Holes mean more manufactured units with a lower unit cost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39681/Andrew", "score": 1 } }, { "sents": [ { "text": "When using a music stand with a solid back in a recording studio around super sensitive mics vocalist and other instruments can resonate the stand and you can actually hear it in certain circumstances.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The holes seem to cut down on the resonance.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53362/Jason", "score": 1 } }, { "sents": [ { "text": "Now that I'm playing a trumpet, I realize that playing with the horn directed at the music stand will make it sound muted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Holes might give me something else to shoot at.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While On-Stage Music Stands web page attributes their holes to save weight, the reason I would switch has to do with sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It just doesn't seem to be enough weight or cost savings just to talk about steel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65519/user65519", "score": 1 } } ]

{ "question": "I was looking at music stands and a number of them do not have solid backs, rather, they have holes through them, like shown. Are these just for aesthetic purposes, or do they have a practical purpose?", "title": "What do 'vent holes' do on a music stand?", "forum": "music.stackexchange.com", "question_tags": "<sheet-music><stand>", "link": "music.stackexchange.com/questions/52705", "author": "music.stackexchange.com/users/13742/tarun" }

[ [ "When using a music stand with a solid back in a recording studio around super sensitive mics vocalist and other instruments can resonate the stand and you can actually hear it in certain circumstances. The holes seem to cut down on the resonance.", "The holes seem to cut down on the resonance." ] ]

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[ 7 ]

[ [ "Resonant music stands can resonate when used in a recording studio. This is especially true around super sensitive mics vocalist and other instruments. The holes seem to cut down on the resonance." ] ]

[ { "sents": [ { "text": "Middle C is C4, 9 semitones below A4.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A4 is commonly defined as 440Hz, so C4 is 2 (−9/12) × 440 Hz,", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "about 261.625565302 Hz.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That's it, regardless of instrument.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some clefs are transposing and this is not always clearly indicated by small numbers attached to the clef (tenors tend to sound an octave lower than standard violin clef would indicate, soprano recorders an octave higher", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": ", other transposing instruments have fixed offsets).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "But regardless of how it is written, C4 is the same pitch for all instruments.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36412/user36412", "score": 12 } }, { "sents": [ { "text": "To address the \"what is the actual definition of numbered octaves?\" question: Referring to pitches via note-names with octave numbers, like C4, is scientific pitch notation .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Leaving aside some complications related to pitch standards and temperament , these indicate specific note frequencies (physics) and thus pitches (psychoacoustics), as indicated in the table in the linked Wiki page.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 6 } }, { "sents": [ { "text": "But how can a musician know where Middle C is on any other instrument...?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you learn an instrument, this is one of the things you learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually, it may be two of the things you learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's two things (for some instruments) because you normally want to know what note to play on your instrument when you read middle C in notation, and if you have a transposing instrument, you also normally want to know what note to play on your instrument to create the sound of middle C. On transposing instruments, what you play when you read middle C on the staff and what note sounds like middle C are two different things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might be someone who was taught piano at an early age, so it seems obvious to you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I say that because you wrote, \" ...these definitions seem self-explanatory on an 88-key piano because it's where it is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" I don't think middle C on a piano is self-explanatory at all!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, one of the first things I was shown when I was taught piano is that the C under the brand/logo for the piano is called \"middle C\" and looks like this on the page (the ledger line between the treble and bass clefs on the grand staff).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's also something I have taught piano students.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise, how would you know?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A similar teaching process happens for all instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now perhaps middle C itself is not taught on the first day of other instruments, but \"home base\" notes will be taught on day one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The open strings of a guitar or violin will be matched with the sheet music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And simple finger positions (e.g., all valves open) and their notated notes on wind and brass instruments will be taught very early on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From there, students will sooner or later play up or down the range of their instrument to middle C when it's notated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 5 } }, { "sents": [ { "text": "You've been asking about history on other answers, so I wanted to address this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first historical answer that could be given would be \"they didn't care.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're just playing solo, you often don't need to line up \"perfectly\" with an particular pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instruments could vary accordingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'd simply make the instrument play one note that's \"roughly\" in the right place, and then tune the rest of the instrument from there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This process is great until you have to have two instruments play together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When they have to play together, they have to agree on which pitches they're going to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One approach to this is to have every pitch variable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many old stringed instruments could retune strings or even move frets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, to take the step towards \"middle C,\" you have to play this way for a bunch of years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Over time musicians will start to realize that it's cheaper and easier to play together if all of the instruments \"agree\" on a pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Musical instrument makers started standardizing their instruments to suit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might be a local standard, or a worldwide size and shape.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All that mattered was that they agreed enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually we standardized on a tonal system which centered around the pitch of the note we now call A4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's currently specified to be 440Hz (it's varied through the years a bit).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can then define A5 A6, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "by doubling that frequency (880Hz 1.7KHz respectively).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any instrument that wants to play well with others will be judged by how well it matches those reference frequencies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course they didn't phrase it that way at first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, there are many shapes of resonators which can be constructed to a fixed size and thus resonate at a given frequency.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The numeric frequencies came later -- reproducible shapes and sizes came first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now days, even with the ubiquitous standard of A4=440Hz, we still tune the same way they did in the days of yore.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Due to atmospheric and temperature changes, instruments change tuning all the time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In an orchestra, everyone adjusts their tuning to that of the oboe because the oboe has the least room to adjust their pitch (due to the design of the instrument).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The one exception is if there is a piano on stage, in which case the piano is even harder to re-tune than the oboe, so everyone tunes to the piano instead).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18819/Cort Ammon", "score": 2 } }, { "sents": [ { "text": "Middle C is the note with frequency 262Hz (or thereabouts, we don't need to split hairs here).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's MIDI note #60.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's usually called C4, there is also a system that calls it C3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A side issue - some instruments are 'Transposing instruments'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They read a middle C, the pitch that sounds is really something else.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For a Bb Trumpet it's Bb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are we talking about the true middle C or that instrument's middle C?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whatever you feel about which is 'correct', sometimes it will need to be made clear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } } ]

{ "question": "After reading into some music theory, it seems that a lot of the definitions depend on specific octaves i.e. Treble Clef on G4 and Middle C on C4. Now these definitions seem self-explanatory on an 88-key piano because it's where it is. But how can a musician know where Middle C is on any other instrument or even vocally? What is the actual definition of numbered octaves?", "title": "How is Middle C generally defined and located on any instrument?", "forum": "music.stackexchange.com", "question_tags": "<theory><notation><terminology>", "link": "music.stackexchange.com/questions/52720", "author": "music.stackexchange.com/users/35816/Shiri" }

[ [ "S0: Middle C is C4, 9 semitones below A4. A4 is commonly defined as 440Hz, so C4 is 2 (−9/12)  × 440 Hz, about 261.625565302 Hz. That's it, regardless of instrument. Regardless of how it is written, C4 is the same pitch for all instruments.", "Regardless of how it is written, C4 is the same pitch for all instruments and regardless the instrument." ] ]

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[ 7 ]

[ [ "Middle C is C4, 9 semitones below A4. A4 is commonly defined as 440Hz, so C4 is 2 (−9/12)  × 440 Hz,about 261.625565302 Hz. Regardless of how it is written, C4 is the same pitch for all instruments and regardless the instrument." ] ]

[ { "sents": [ { "text": "It's not going to make much difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tension differential is less than 5% overall.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you can manage it, get another guitar and have each in the tuning you need.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One always has at least one guitar fewer than one already needs!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 18 } }, { "sents": [ { "text": "Switching between standard E tuning and drop D tuning is so common that some guitarists use special tuning knobs that flip between the two with a switch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have a bass guitar version on my Fender Jazz bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some guitarists have practiced this retuning so extensively that they can do it by feel with just the regular knob – if you have ever watched a medley of popular riffs on YouTube, you may have seen the performer do this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In short, don’t worry about it!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6556/Bradd Szonye", "score": 10 } }, { "sents": [ { "text": "I would say only when you actually tune up do you risk hurting the guitar but who does that anyway?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Drop tuning may affect the intonation of the guitar but that is in no way breaking the guitar, and can be fixed relatively easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 5 } }, { "sents": [ { "text": "Not at all, I've used many, many guitars throughout the years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All of which could hold tone, and had relatively decent intonation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would (and still do) switch between tunings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Standard to Drop D, Drop D to Drop C#, back up to Standard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now it can overtime give your tuning pegs more wear and tear, but thats the nature of playing guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also changing and using alternate tunings is a great way to learn more chord structures, and is great practice for those who like to focus on progressions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36796/andy_5860", "score": 4 } }, { "sents": [ { "text": "I would also add to the very good answers, that in the past string tension was unfairly blamed for issues with humidity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitars are often damaged because of dryness (like winter weather or desert heat, or simply a dry house environment) or proximity to heat.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The issues this low humidity causes falsely makes the strings look like the perpetrator.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And of course, if you try hard enough, with a weird enough tuning you can cause damage.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example if you fully loosen the four bottom strings, and tighten the top two strings to an extreme and leave the guitar that way for weeks or months...", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "well then maybe you could cause the neck might to develop a twist.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15535/amalgamate", "score": 4 } }, { "sents": [ { "text": "No problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The drop-d tuning only changes the total tension about four percent, so it will not do any damage to the guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your low E string will not last as long, however.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } } ]

{ "question": "I'm currently learning a song which needs drop-d tuning. Since I found myself switching back and forth from drop-d to standard tuning a couple of times a day, I wonder if I'm risking damage to the guitar by doing so. [It's an acoustic guitar, in case that matters]", "title": "Do I risk ruining my guitar by switching the tuning often?", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><alternative-tunings>", "link": "music.stackexchange.com/questions/53202", "author": "music.stackexchange.com/users/None/" }

[ [ "Guitars are often damaged because of dryness (like winter weather or desert heat, or simply a dry house environment) or proximity to heat. The issues this low humidity causes falsely makes the strings look like the perpetrator. However, unless you indulge in a lot of weird tuning, you are unlikely to damage the guitar in that way.", "Guitars are often damaged because of dryness (like winter weather or desert heat, or simply a dry house environment) or proximity to heat. With a weird tuning you can also cause neck problems." ] ]

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[ 7 ]

[ [ "Guitars are often damaged because of dryness (like winter weather or desert heat, or simply a dry house environment) or proximity to heat. Low humidity makes the strings look like the perpetrator. With a weird tuning you can also cause neck problems. For example, tighten the top two strings to an extreme and leave them loose for weeks or months." ] ]

[ { "sents": [ { "text": "I think the heart of the question is, which is more important: gear or skill?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The answer to that question is skill is more important .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Skill is the product of training, practice, and experience, and people with the highest skill levels have a great advantage in producing the best results, in any field.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You specifically asked about the skills of mixing and mastering, but there are two other skills that are more important for quality vocal recordings: singing and recording .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first and most important step in the quality chain of any music recording is the musician/artist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The skill level of the musician(s) involved in a recording is the number one factor that determines the eventual quality of the recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Better musicians know how to get the best sounds from their instruments and voices, play in tune and on time, know how to work with microphones to make sure the best sound is picked up by them, and know how to \"mix\" themselves in with the rest of the band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The skills that better musicians bring to the recording studio make all the other jobs of making recordings easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The next and second most important skill in making quality recordings is recording, which might more clearly be called \"recording engineering\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you've got great sound coming from the musicians, you have to capture that sound onto a recording medium.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a very challenging skill and has a huge impact on the results.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just a few millimeters of movement of a microphone can make a large difference in what that microphone picks up, and can turn an epic drum sound into a dull thud, or a beautiful vocal into a nasal whine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Microphone selection and placement might be the most important jobs of a recording engineer, but they are not the only tasks that have a great effect on the quality of a recording.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The placement of the musician(s) within an air space, the direction that instruments and microphones are facing, the technical aspects of managing the electronic signal produced by microphones, and also any processing done during the recording process are other aspects of recording engineering.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We should also not discount the artistic decisions made along the way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a big-budget production, there is almost always a person who is an additional artistic expert called a producer who either has the final say or offers an additional opinion on how different playing styles, tones, microphone placement, EQ settings, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "all work together to create a great work of art.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best producers have skills in both the musical and technical realms, and understand how to make things groove as well as make recordings sound clear and exciting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Their skills are invaluable in creating the best recordings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 8 } }, { "sents": [ { "text": "The weakest link in the chain will significantly determine the result.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A grammy award winning engineer will not be able to fix a bad recording (due to lousy voice or lousy microphoning), like a Photoshop award winning retoucher will not be able to fix a bad photograph (due to skin problems or lousy lighting).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You need to work with solidly good material to arrive at great results.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36849/user36849", "score": 2 } }, { "sents": [ { "text": "Yes, any part of the recording chain can be a limiting factor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the technical level of today's affordable equipment is pretty good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the performance is good, the room sound is good and the engineer doesn't do anything wrong, premium equipment may not have much to add.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When magazines do equipment 'shoot-outs' it's very usual to discover that it's difficult to tell the price of a microphone from a blind test!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "From an amateur home recording viewpoint I think you have to have a minimum level of quality equipment or you end up faking it in the mixing/mastering phase with fx.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Doesn't have to be very top shelf, but you can't really get good results from the cheapest thing you find at Guitar Center.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course my voice is hopeless regardless of equipment, but I prefer a pristine warble.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48490/user48490", "score": 1 } }, { "sents": [ { "text": "Experience and skill are much more important, the knowledge of the best techniques, how to make the most of any given situation and deal with problems that almost always present themselves, will usually yield better results than the best equipment in the hands of someone who doesn't know how to obtain optimal results from that same equipment.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That said, of course you need to go for the best people and the best equipment available to you at any given place or time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 1 } } ]

{ "question": "I know that they both have a role to play, but could a grammy award winning engineer make a crispy vocal using just his engineering skills regardless of equipment used?", "title": "Does the microphone gear/setup used to record vocals determine the output quality of the music or does the mixing and mastering?", "forum": "music.stackexchange.com", "question_tags": "<recording><mixing><equipment><mastering>", "link": "music.stackexchange.com/questions/53313", "author": "music.stackexchange.com/users/36847/user36847" }

[ [ "Experience and skill are much more important, the knowledge of the best techniques, how to make the most of any given situation and deal with problems that almost always present themselves, will usually yield better results than the best equipment in the hands of someone who doesn't know how to obtain optimal results from that same equipment. That said, of course you need to go for the best people and the best equipment available to you at any given place or time.", "The knowledge of the best techniques will yield better results than the best equipment in the hands of someone who doesn't know how to obtain optimal results from that same equipment." ] ]

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[ 7 ]

[ [ "The knowledge of the best techniques will yield better results than the best equipment in the hands of someone who doesn't know how to obtain optimal results from that same equipment. That said, of course you need to go for the best people." ] ]

[ { "sents": [ { "text": "Capo quality matters, but not for tone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A better capo may give you more even tension on the strings, it may be more convenient to use, or maybe it's made of more durable materials or components that can be services or replaced as they wear.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The guitar's tone will only become affected if the capo throws the strings out of tune differently across the neck, or doesn't hold the strings tightly enough and causes buzzing or muting.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Capos can also throw guitars out of tune when used; better capos will do this less than simple ones.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(It's worth mentioning that a capo doesn't need to clamp on the strings tightly; it only needs to hold them firmly enough", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "so the strings ring freely.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A capo that clamps the strings too tightly will often throw the guitar out of tune.)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Capos that use a spring to hold the neck are harder to adjust than one that uses an a mechanism with adjustable tension, but for guitars with a fairly average-sized neck this may not matter.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The style of capo that has a stretchy elastic band to clip onto the neck can sometimes work on steel-string guitars but it works very well on classical guitars, that have nylon strings with low tension.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/59/Goodbye Stack Exchange", "score": 16 } }, { "sents": [ { "text": "There are many different styles and types of capo, all with the same end product in mind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, they do differ a lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some are dead straight, to work with flat fingerboards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Others have a radius which approximately matches the fingerboard radius on cambered fingerboards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The way they attach to the neck varies too, and some are very easy to move up and down, while others need adjustment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Those with a spring for tension cannot be adjusted, so may, on some guitars, squeeze too hard and put the guitar out of tune, necessitating retuning for each position change.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But they store easily on the head of the guitar when not being used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't use capos often, but prefer G7,(not the cheapest!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "which can be attached with as much or little pressure as needed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many different designs, so it's worth trying several out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take guitar to shop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Until you've tried them out, you really won't know whether it was hard sell or good sell.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The cheapest is a pencil and rubber band - yes, it works - right through to a 'Spider', which takes things to a different level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 11 } }, { "sents": [ { "text": "A cheap capo might seem just as good at first...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Give it a year or so of regular use", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you'll realise why you pay extra for a good quality capo", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", they're more durable and maintain their tension so the strings will be held tightly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cheap capos lose tension and need replacing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I bought a cheap capo and replaced it within a year with a good one that cost twice as much and hasn't needed replacing in 7 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10210/Pixelomo", "score": 3 } }, { "sents": [ { "text": "Yes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's mainly the strength of the metal spring to consider and how many strings it frets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Partial capos are great.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have to use two capos on one fret because my expensive capo is nice metal cast but the spring needs to be pulled apart with needle-nose pliers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here is a YouTube video of a homemade \"snare\" capo that sounds terrible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53896/Ember Leona", "score": 3 } }, { "sents": [ { "text": "I have used the \"K\" brand quick change on my Martin 000X ae , Taylor 414ce, Ovation 12 string and Gibson J150 for 10 years and it works great.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pressure on the strings is even and enough", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so they ring like an open chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I see capos for $60 USD", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I think that's over the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The \"K\" brand (not sure I am allowed to name them) are about $14.00 USD.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I use the 12 string capo (the black \"quick change\" one) on all the guitars (6 and 12 string) and my capo has lasted 10 years, no wear or tear or issues.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find them easy to use at gigs", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I leave it on the headstock for quick changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also - there is no dan=mage to the neck from the rubber like some", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "say.....", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "aside from keeping the strings suppressed properly and evenly and staying in tune - a capo does not affect the sound tone - just the pitch", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39939/Two John Duo", "score": 2 } }, { "sents": [ { "text": "One thing to consider when getting a capo is how much it gets in the way of your hand up there on the 7th fret", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I have big hands).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fingering notes right next to the capo may be a bit cumbersome with a clunky device.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "BTW some capos are capable of barring just a few strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most others are all or nothing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35051/Eric O", "score": 0 } } ]

{ "question": "I feel I was fooled by a music store. They made me buy a really expensive capo saying that it gives a better tone than normal cheap one. However, I recently bought a cheap wooden capo and I could not hear much of a difference. Does capo quality really make a difference to the tone? I feel that as long as the capo holds the strings tightly, it doesn't matter.", "title": "Does capo quality make any difference?", "forum": "music.stackexchange.com", "question_tags": "<guitar><acoustic-guitar><tone>", "link": "music.stackexchange.com/questions/53883", "author": "music.stackexchange.com/users/37252/Black Jack 21" }

[ [ "Capo quality matters, but not for tone. A better capo may give you more even tension on the strings, it may be more convenient to use, or maybe it's made of more durable materials or components that can be services or replaced as they wear. Capos can also throw guitars out of tune when used; better capos will do this less than simple ones. A capo that clamps the strings too tightly will often throw the guitar out of tune. Capos that use a spring to hold the neck are harder to adjust than one that uses an a mechanism with adjustable tension, but for guitars with a fairly average-sized neck this may not matter. The style of capo that has a stretchy elastic band to clip onto the neck can sometimes work on steel-string guitars but it works very well on classical guitars, that have nylon strings with low tension.", "A capo that clamps the strings too tightly will often throw the guitar out of tune. Capos that use a spring to hold the neck are harder to adjust than one that uses an adjustable tension mechanism" ] ]

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[ 7 ]

[ [ "A capo doesn't need to clamp on the strings tightly; it only needs to hold them firmly enough. A capo that clamps the strings too tightly will often throw the guitar out of tune. Capos that use a spring to hold the neck are harder to adjust than one that uses an adjustable tension mechanism. A stretchy elastic band to clip onto the neck can sometimes work on steel-string guitars but it works very well on classical guitars with nylon strings with low tension. The best capo for playing classical guitars is the one that clips onto the guitar's neck." ] ]

[ { "sents": [ { "text": "Chord inversion is effectively helping you to build a voicing / melody e.g. in the upper notes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So, not inverting a chord could be considered ineffective from a melodic point of view.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Regarding the bass progression, you can still play the root with the left hand, if needed.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37742/g3o2", "score": 2 } }, { "sents": [ { "text": "The way one of my music teachers explained it to me was that a root position triad was like a chair with four legs - very stable; a first inversion was like a chair with three legs - still stable, but less so; and a second inversion was like a chair with two legs - rather unstable!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's not really 'accurate', of course, just a fun way of explaining it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And yet he (and I) would agree that yes - you do sometimes 'lose' something when you invert a chord , whether you think it's some sense of 'stability', or (as I do) some of the sense of consonance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, this is a good thing!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "because we don't necessarily want every moment in our music to feel completely concordant, settled, and resolved; we want to have moments of lower consonance and less stability that lead the listener's ear to expect the piece to move forward towards consonance and stability.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other benefit it gives you is to allow individual musical lines that move in a more interesting way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The shape of the bass line can capture the ear like any other melody, and by allowing it to move away from the root of the chord to other chord tones, you can give it a lot more freedom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 2 } }, { "sents": [ { "text": "You don't lose the harmonic function of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, if you play a V in root position, 1st, 2nd or whichever inversion, it will work the same, no matter which note is on the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "because you don't change the chord per se, you just change the way the notes are arranged ( and especially the bass note )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Inversions are an easy way to make a simple chord progression interesting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It'd be boring to play the same chords over and over again, so you can create more interesting patterns by inverting them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, the bass lines become way more interesting if you use inverted chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7356/Shevliaskovic", "score": 1 } }, { "sents": [ { "text": "It's fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Though there are certainly cases where you'd be more confident or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For instance if playing with a group that includes a bass player or bass-like instrument that is playing a bass line, it definitely doesn't matter if you play it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the other hand if it's a song where the bass line is not just supporting the harmony but is a distinct and important riff itself, then somebody should probably be playing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So when playing such a piece solo it may even be best to devote your left hand to it entirely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But generally the answer is that it's fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The harmonic function will still be felt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, if you don't play inversions—or more accurately if your voicings aren't voice led from one to the next—you may be missing the some of the point of the harmony in that instead of a note moving to the next in a smooth and pleasing manner, it may make a large and potentially awkward intervalic jump.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37496/user37496", "score": 1 } }, { "sents": [ { "text": "Yes, the defining bass note (root) does get lost a little.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No,the bass progression doesn't get lost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's hardly going to be a progression if only the root notes are played in the bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other passing notes are usually involved, and they don't always lead directly to the next root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, they can, but that becomes quite predictable, and in music, it's good to do things that the listener isn't expecting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, playing, say, a C under a C chord is fine - especially in C, but with C,C,B,Bb in that bar, there's a good reason to play an A in the next bar, which looks like it's going to be an F chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On a G abar, going back to C, a B bass works well, followed by an almost inevitable root C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It all works, and really, there's no 'problem' to get around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "There is a difference between the root progression of chords and the actual bass notes used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The OP has touched upon what happens.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One may have (for example) a chord progression of C-B0-C with the bass being E-D-C, it's not uncommon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note that the first two chords are in first inversion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One hears a C chord then a B0 (diminished)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "chord then another C chord but simultaneously hears a stepwise descending bass line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First inversions do not radically change the sound of a chord (they do change it though).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First inversions are useful to keep the bass line moving when bass line with jumps may not be suitable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's a decision a composer or arranger must make.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another possibility would be a chords C-B-C with chords being C-G-C or C-G6-C; in the first case the bass is C-G-C which is fine; in the second case the bass line would be C-B-C which moves less; also fine, but different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Second inversion chords change the sound a bit more and are thus more complex to analyze.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes the second inversions are used in a manner that the do not sound like the main chord at all, but rather as another chord with non-chord notes attached.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the classical Dm-C64-G7-C, the second inversion C64 sounds a bit like a G chord with a couple of notes moving to their \"correct\" places later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other places a C-G64-C6, the G sounds like a G chord with a stepwise moving bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Much depends on the point of view of the composer (or analyst); one can thing of a succession of chords or a bunch of melodies which coincide to produce chords at different places.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both are useful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 0 } } ]

{ "question": "If we invert the chords on a simple song on the piano, then we lose the tonic in the bass. So doesn't the bass progression get lost (?) I heard somewhere that to listen by ear one has to listen to the bass notes . But if we change the bass around then how would one hear the chord? doesn't the chord get muddied or something? However it seems to me that most piano players invert their chords. So how do people get around this \"problem\"?", "title": "If you invert a chord, doesn't it lose its defining bass note?", "forum": "music.stackexchange.com", "question_tags": "<piano><chords><chord-theory><ear-training><chord-inversions>", "link": "music.stackexchange.com/questions/56402", "author": "music.stackexchange.com/users/None/" }

[ [ "Chord inversion is effectively helping you to build a voicing / melody e.g. in the upper notes. Not inverting a chord could be considered ineffective from a melodic point of view. Regarding the bass progression, you can still play the root with the left hand, if needed.", "Chord inversion is effectively helping you to build a voicing / melody e.g. in the upper notes. " ] ]

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[ 7 ]

[ [ "Chord inversion is effectively helping you to build a voicing / melody e.g. in the upper notes. Not inverting a chord could be considered ineffective from a melodic point of view." ] ]

[ { "sents": [ { "text": "In most theories of music, the concept doesn't have enough value to be worth naming.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Of course if your research shows that the concept does have some value, you can therefore name it yourself!", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "On a short timescale (two or three notes), the term Cambiata is used, especially in polyphonic music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "On a long timescale, terms like \"climax of a phrase\" (or of a piece) express the general idea, but may include other aspects of the music, such as dynamics, texture, or instrumentation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 4 } }, { "sents": [ { "text": "Some possibilities: \"local peaks and valleys\" is used on page 61 of David Temperley's \"Music and Probability\"; \"local high tones\" is used on page 91 of David Lewin's \"Generalized Musical Intervals and Transformations\"; \"local maxima\" can be found here and here , among other places.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We also talk about \"extremes of range,\" so perhaps you could discuss \"the local extreme of G3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" The problem here is that clarifying \"the local upper extreme\" starts to be linguistically cumbersome.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And since you're focusing on pitches \"at which the melody changes its direction,\" maybe you should use terminology that emphasizes that instead?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 3 } }, { "sents": [ { "text": "For notes that aren't part of the underlying chord progression, https://en.m.wikipedia.org/wiki/Nonchord_tone has names of several types of \"elbow notes\", such as Neighbouring Tone (approach and leave by step) and Appoggiatura (approach by leap, leave by step, accent the \"elbow note\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The above doesn't 100% answer the question, but it's possible that music theorists generally aren't interested in the generalized \"elbow note\" because of ubiquity problems like Tim mentioned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 1 } }, { "sents": [ { "text": "Toch (\"The Shaping Forces of Music\") describes melodies as being wave-like with successions of higher and lower waves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This suggest the terms \"peak\" and \"trough\" for such notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think I have seen the terms \"highs and lows\" used, but that may be overworked.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 1 } }, { "sents": [ { "text": "In general you wouldn't single out these pitches, but they would be apart of the contour or shape of the melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a lot of detail you can get based on the contour of the piece and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the basic contours you can have are: Ascending First pitch lower than middle pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Middle pitch lower than lastpitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Descending First pitch higher than middle pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Middle pitch higher than finalpitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Concave", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First and last pitch higher than middle pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Convex", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First and last pitch lower than middle pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Horizontal", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First, middle, and last pitch, roughly equivalent in range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "source As you break down the contour into bigger or smaller pieces these notes will stand out as will the lower notes on the other end of the spectrum, but there's no reason to call them anything fancy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason why is the contour itself is much more important the individual notes that make it up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The most you'll ever see them called is a climax and if you're really specific a local climax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 1 } }, { "sents": [ { "text": "I don't think there is a universal term for this, though Philip Ball uses the term \"reversal\" in his book \"The Music Instinct\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39619/Pete", "score": 1 } }, { "sents": [ { "text": "If you were wanting to break new ground, here are two suggestions:1.For medievalists, perhaps acme localis 2.For cutting edge-ists", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "there is (as of now I think)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the nonce word locacme , derived from 1.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39533/Areel Xocha", "score": 1 } } ]

{ "question": "For an academic study, I am planning to find the effect of the notes at which the melody changes its direction. So, for example in a melody like: C3 G3 F3 D3 E3 G3 and D3 are those notes that I am interested in, because the notes next to G3 are both lower than it, and similarly, the notes next to D3 are both higher than it. So, is there a name for such notes, for example elbow note maybe?", "title": "A name for a note that is higher or lower than the neighboring notes", "forum": "music.stackexchange.com", "question_tags": "<terminology>", "link": "music.stackexchange.com/questions/56483", "author": "music.stackexchange.com/users/10312/ThePortakal" }

[ [ "A note that is higher or lower than neighboring notes, on a short timescale (two or three notes), the term Cambiata is used, especially in polyphonic music. On a long timescale, terms like \"climax of a phrase\" (or of a piece) express the general idea, but may include other aspects of the music, such as dynamics, texture, or instrumentation.", "the term Cambiata is used, especially in polyphonic music. On a long timescale, terms like \"climax of a phrase\"" ] ]

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[ 7 ]

[ [ "On a short timescale (two or three notes), the term Cambiata is used, especially in polyphonic music. On a long timescale, terms like \"climax of a phrase\" (or of a piece) express the general idea." ] ]

[ { "sents": [ { "text": "There is no point in changing all the strings, especially since the remaining ones are so new.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When comes the time for total replacement in 6 months, a year, depending how much it gets played, then yes, change them all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm pretty sure", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "singles are available, but if not, a whole set isn't going to break the bank, and having spares is a sensible situation to be in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bit like that insurance policy - useless until it's needed!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a new violinist, be very careful you tune to the correct notes, and not an octave higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Seen it happen, not a pretty sight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "Hint: Get into the habit of slackening off your fine tuner when you are changing a string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This will give you more adjustment after you have roughly tuned it with the tuning peg and for subsequent tuning adjustments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your violin is unlikely to get bumped 'sharp', so you will rarely need to fine tune it down far.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the first time, maybe it's best to ask the music store to fit the new string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Watch the way they do it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, it's good to make sure that the string windings stay near the outside of the peg box, rather than the centre.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That will stop the peg from slipping outwards and loosening its grip in the peg hole.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39533/Areel Xocha", "score": 2 } }, { "sents": [ { "text": "You can absolutely buy individual violin strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Many players use an E string that doesn't match the brand of their other strings.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A generic music shop probably doesn't do enough volume to sell anything other than sets, but a shop that caters to string players will have the individual strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There may be one locally, or you can order online.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The three stores I've bought from online are Shar music, Johnson Violin, and Southwest Strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There are certainly other reputable shops as well.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You mention having the music store put in your string.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Ask them to show you how to change the string, because it is very simple and something every student should know.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "They may charge a small fee, especially if you don't buy the string from them.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10353/Karen", "score": 2 } }, { "sents": [ { "text": "From experience, violinists don't actually like the timbre of new strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While guitarists typically chase the timbre produced by a fresh set of strings, violinists prefer the timbre of strings that have at least bedded in, and will only replace strings if they break, start to unwind or develop an undesirable tonal artifact.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With this in mind, I think it would be more typical for a violinist to replace a single string than to replace all four when one breaks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other thing to note here is the cost of violin strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beyond purchasing a spare set for emergencies, it could get fairly costly fairly quickly were you to replace all four strings whenever one broke.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/30365/ABragg", "score": 1 } }, { "sents": [ { "text": "The thing to keep in mind when replacing single strings is to find the gauge of the broken string and get an individual string of the same gauge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way, the original setup of your violin stays intact.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Usually, a music store should have a device to measure the gauge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I advice you to find another store to get it replaced.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40554/Shashank", "score": 1 } }, { "sents": [ { "text": "I suggest you replace the strings that came with your violin within 6 months.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It probably is not of the greatest quality unless you bought a 4000 dollar violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep at least 2 sets of spares safely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They may get damaged on exposure to extreme atmospheric conditions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After a while adjust your set up mixing and matching different strings of different brands and gauges to your preference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/42746/Tarun", "score": 1 } } ]

{ "question": "I just received my violin 2 days ago . My E string broke when I tuning it. I enquired nearby musical instrument store and they only sell the whole set of strings. So, do I have to replace all strings or I keep G, D, A strings and only replace E string?", "title": "Do I have to replace all violin strings when E string broke?", "forum": "music.stackexchange.com", "question_tags": "<strings><violin><string-instruments>", "link": "music.stackexchange.com/questions/57180", "author": "music.stackexchange.com/users/39893/Chek Wei Tan" }

[ [ " You can absolutely buy individual violin strings. A generic music shop probably doesn't do enough volume to sell anything other than sets, but a shop that caters to string players will have the individual strings. There are many reputable specialist stores and you can also buy strings online. Ask the store to show you how to fit the string as all students should know how to do that.", "You can absolutely buy individual violin strings." ] ]

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[ 7 ]

[ [ "You can absolutely buy individual violin strings. Many players use an E string that doesn't match the brand of their other strings. Ask them to show you how to change the string, because it is very simple and something every student should know. They may charge a small fee, especially if you don't buy the string from them. The three stores I've bought from online are Shar music, Johnson Violin, and Southwest Strings." ] ]

[ { "sents": [ { "text": "It's somewhat subjective, but my problem is how does one name a dyad, apart from calling it an interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus power chord becomes D5 - an interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most chords, to me, need the blend of minimum three notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Majors and minors will have that interval between root and three.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some will argue, corectly to an extent, that actually the root will usually sound a 5th as its second harmonic, thus it's going to sound anyway - a good reason why some jazz chords leave out the P5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However - if that's the case, is that actually a two note 'chord', as we hear and perceive three notes...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, what do we call other two note 'chords'?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All the 'proper' chord names won't work, as they're specific to the notes in that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Taking a note out of even a three note chord stops it being an xyz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The power chord works sonically because the 3 is missing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Favoured by guitarists using distortion/overdrive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With those effects, the harmonics of each note are accentuated, and those belonging to the 3 clash with the others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Root and 5 harmonics generally sound o.k. together, so it works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, to me at least, it still isn't a chord, but an interval - a dyad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "A chord is in no way always played at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Arpeggios and broken-chords are chords in the broader sense of the word and neither are played at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A proper melody also has a harmonic structure built on chords and again none of the notes are played at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also a chord can have three notes as maybe the stadard but it could also have four notes or even five, there is nothing forcing a chord to only have three notes, it can be any number of thirds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for the specifics about two note chords with guitar, that is much more a peculairity of the guitar as instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The guitar has a wealth of harmonics on each string that make playing two note chords still work, but you are right if you take the concepts away from the guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "then G - B would be the space between two notes ie an interval.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "Terminology is fickle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to be exact, don't try to find the \"exact\" line between what is considered a \"chord\" or not, because the line will always be arbitrary, as the other answers show.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rather, specify the tones and don't worry about whether they constitute a \"chord\" or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } }, { "sents": [ { "text": "A chord is, simply put, a group of notes (usually three or more although 2 can still be considered a chord) played as a basis of harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They do not necessarily have to be played simultaneously.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So yes 2 notes CAN be considered a chord but it depends on their intervals and their relationship with a melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although it is a hard question to answer because 'what a chord is' can almost be subject to personal opinion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39554/Ben Hughes", "score": 1 } }, { "sents": [ { "text": "A chord is two or more notes played together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An interval is the distance between 2 notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example a 2 note chord might be the A5 power chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37653/Charlie Turnbull", "score": 1 } }, { "sents": [ { "text": "The most basic chord to which we give a name is a triad, a three-note chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "C major, D minor, Eb diminished etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Two notes, or even one note can suggest or imply a triad, but they cannot fully define it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And that is what people mean when they argue that you need three notes for it to be a 'chord'.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In more general terminology, we often call two or more different notes a 'chord'.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } } ]

{ "question": "I was studying music, and in my book it says that two notes played simultaneously are considered an Interval while three notes are considered a Chord .Following up this question Why are two pitches considered a chord? . Are dyads considered to be chords? If yes, then can we actually define a chord with just two notes, for example if we have G and B, which are suitable for both Em and GM. If not, why are power chords considered chords when they only have two notes?", "title": "Are two pitches played simultaneously considered a chord?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-theory>", "link": "music.stackexchange.com/questions/57911", "author": "music.stackexchange.com/users/40584/Jaafar Jumaa" }

[ [ "The most basic chord to which we give a name is a triad, a three-note chord. C major, D minor, Eb diminished etc. Two notes, or even one note can suggest or imply a triad, but they cannot fully define it. In more general terminology, we often call two or more different notes a 'chord'. ", "Two or more different notes a 'chord' can often be called two or more 'chords'" ] ]

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[ 7 ]

[ [ "Most basic chord to which we give a name is a triad, a three-note chord. Two notes, or even one note, can suggest or imply a Triad, but they cannot fully define it. Two or more different notes a 'chord' can often be called two or more 'chords'" ] ]

[ { "sents": [ { "text": "People have different viewpoints on this, but one prevailing view is that a modulation must change tonal center .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, a move from A major to A Mixolydian is not a modulation, because the tonic (=tonal center) is still A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such, we just call this a \"change of mode.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 6 } }, { "sents": [ { "text": "Is this all about the use of a bVII chord in the final choruses?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just let it BE the bVII in the key of A. A chromatic chord doesn't necessarily imply a key change.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of a simple blues progression - A7, D7, A7, E7, D7, A7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You have no problem with that being in the key of A, despite the Cnat and Gnat notes do you?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 3 } }, { "sents": [ { "text": "In the event of a modulation, the music is still with the same key signature, as modulations are generally a temporary move.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "With a key change, the term says it all - the key has changed, it's not temporary, there needs to be a sign displaying the new key.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "'Borrowing', from parallel key and other modes with the same root - as in A major using A Dorian, A minor, A Mixolydian etc., is going to be a modulation, and there will be the necessary accidentals in place, with the feeling that the piece will eventually return to the original key.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other common modulations are moving to a related key, a fourth or fifth away, and relative major/minor changes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "A key change occurs whenever the key signature changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is pretty objective and quite different from a modulation, which can occur with or without a key change (often with accidentals).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are switching modes but not tonal center, I would not call that a modulation; I would call it \"borrowing (from a parallel scale).\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9774/John Wu", "score": 1 } }, { "sents": [ { "text": "This is another example of terminology trying to put hard and fast lines where none exist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the \"tonal center\" changes for just one chord, it's not a modulation; if an entire movement is around a new tonal center, it's modulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But everything in between exists as well, and there's no convention (nor could there be reasonably) to say exactly when \"modulation\" occurs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } }, { "sents": [ { "text": "Changing from C Ionian to D Dorian is changing mode but isn't changing key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Changing from C Ionian to D Phrygian is changing mode and changing Key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More examples: D Dorian >", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E Phrygian - Changing mode, not changing Key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Aeolian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G Mixolydian - Changing mode, not changing Key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D Dorian >", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Db Lydian - Changing mode, changing Key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F Aeolian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Mixolydian - Changing mode, changing Key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another Example: Blue in green by Bill evans is... D Dorian is in Cmaj C Dorian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is in Bbmaj Bb Ionian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is in BbMaj", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Phrygian is in FMaj D Dorian is in Cmaj F Aeolian is in Abmaj", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A mixolydian is in Dmaj The best modal music changes Key and mode.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Changing mode is not as weird as you think it's basically changing chords within a key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The cool stuff comes when you change mode but to another key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've not listened to Green Light by Lorde but would assume it's just changing mode and not the key, which is kinda boring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also you could go: D dorian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "> C dorian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But this is just a key change in my opinion and not a mode change.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64579/Greg James", "score": 0 } } ]

{ "question": "I was listening to Green Light by Lorde, during which there is a modulation from A major to the mixolydian mode. DOes that count as a 'key change' per se?", "title": "Do modulations from a major key to a mode count as 'key changes?'", "forum": "music.stackexchange.com", "question_tags": "<theory><modulation>", "link": "music.stackexchange.com/questions/58373", "author": "music.stackexchange.com/users/41025/user41025" }

[ [ " In the event of a modulation, the music is still with the same key signature, as modulations are generally a temporary move. With a key change, the term says it all - the key has changed, it's not temporary, there needs to be a sign displaying the new key. 'Borrowing', from parallel key and other modes with the same root - as in A major using A Dorian, A minor, A Mixolydian etc., is going to be a modulation, and there will be the necessary accidentals in place, with the feeling that the piece will eventually return to the original key. Other common modulations are moving to a related key, a fourth or fifth away, and relative major/minor changes.", "In the event of a modulation, the music is still with the same key signature, as modulations are generally a temporary move. " ] ]

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[ 7 ]

[ [ "In the event of a modulation, the music is still with the same key signature, as modulations are generally a temporary move. With a key change, the term says it all - the key has changed, it's not temporary, there needs to be a sign displaying the new key. 'Borrowing', from parallel key and other modes with theSame root is going to be an example of a 'modulation' and there will be the necessary accidentals in place, with the feeling that the piece will eventually return to the original key." ] ]

[ { "sents": [ { "text": "Any readers may thank you more if the new key becomes Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ab has only 4 flats in it, whereas G# has 8 sharps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The simplest, which always works, pretty well whichever key you're changing into, is to use the dominant of the new key for a bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus Eb or Eb7 will do the trick.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've done it hundreds of times with choirs and bands and soloists - some of whom were genuinely unaware that a key change had actually occurred!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It works really well when going up a semitone, as there are common notes involved.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think G - G B D, and the V of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ab - Eb G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb Db. O.k., just the one!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but all the others are only a semitone from notes of G. Then Eb7 leads almost automatically to Ab. Going to any other key, ii-V-I is a tried and tested move (in the new key!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 21 } }, { "sents": [ { "text": "Just jumping up the key up a semitone without a chord progression to lead into the modulation is a very common musical trope!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Simply change the key signature in-between two major sections of a song, such as transitioning from a verse to the chorus - the already-present transition prevents the sudden modulation from sounding out of place or overly abrupt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is sometimes called the \" truck driver's gear change \" and shows up frequently in pop, rock, and dance music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you abruptly modulate up a semitone, it immediately adds a lot of energy to a song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a result, it's most frequently used at the start of the final chorus of a song to make the ending have more of a punch to it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I Won't Let You Down by OK Go has an excellent example of this modulation near the end of the song .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Run and Gun , an electronic dance track, starts with this modulation to gain some surprising energy coming out of the intro into the first drop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The truck driver's gear change is somewhat cliche and, to my knowledge, rarely shows up in academic, classical, or neoclassical music, so it may not be an appropriate tool for the style of music you're writing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3265/Kevin", "score": 9 } }, { "sents": [ { "text": "A little more advanced method is to look at the shared notes between the two scales you're trying to modulate between (using enharmonic spelling to keep things simple):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G maj:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G A B C D E F#", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G# maj: G# A# C C# D# F G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the only shared notes are C and G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now make lists of all the run-of-the-mill triads you can make using those two notes in each of your two keys:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G major: CDG (Csus2),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "CEG (Cmaj), CFG (Csus4)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G# major: CD#G(Cmin), CFG (Csus4)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now look for any shared chords between the two keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's only one in this case: CFG (Csus4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That will be your most important one to modulate between the two keys, the 'pivot'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From here, it's just a matter of playing around with those chords above until you find a progression you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, I came up with this one that sounds nice after a bit of noodling that lands you in G#maj: Csus2, Cmaj, Csus4, G#maj Edit", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": Found these interesting plays on the I V vi IV progression that start in Gmaj and end in G#maj: Gmaj, Dmaj, Emin, Fsus4, G#maj, D#maj, Fmin, C#maj", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you sub Fmin->Fmaj you get a very interesting chromatic cadence with some delicious harmonic ambiguity: Gmaj, Dmaj, Emin, Fsus4, G#maj, D#maj, F maj , C#maj", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/28028/Eriek", "score": 4 } }, { "sents": [ { "text": "One option is to take a detour through F# major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We use a trick of borrowing the minor subdominant from F# to get us to the subdominant of Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then you've got a nice sounding IV-V(7)-I and only one minor chord which can easily be paved over when voicing it out: G Bm C#/Db Eb(7)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ab G: I iii", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F#: iv", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ab: IV V(7) I", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/20714/Sabre", "score": 2 } }, { "sents": [ { "text": "Perhaps not what you are looking for, but I recall \"Sampo\" (Stroll) from Joe Hisaishi (opening theme of \"My neighbour Totoro\") which in the reprise repeats the full song a semitone up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this guitar arrangement of mine , you can see (and hear) the simple modulation: from the concluding chord (tonic) of A major, with higher note A, the chord is suddenly replaced by F7, (keeping the A high note)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- this is the dominant of Bb, which turns to be the new tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/460/leonbloy", "score": 1 } }, { "sents": [ { "text": "Try G-major chord, followed by B-major chord (raising the iii-chord in key of G up to a Major), then follow with C#-major and then D#-major, which are the new IV and V chords of the new (raised) Key of G#.I'm still trying to find the theory-reason why the B-major works, but I've played it multiple times and it sounds to the ear like it \"works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"David : )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70513/David Johnson", "score": 1 } }, { "sents": [ { "text": "With most modulation there is a balance of technique (harmonically) and dynamics.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I won't pretend to know very many common harmonic sequences that will get you a half step up, but if you lack the technique, you can always set your audience up for a would be jarring transition by slowing down, and lowering to volume, then coming back to speed and volume after a simple chromatic step up.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The augmented fifth is always an interesting sound, and could be a nice hint for your listeners.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/41362/user7778287", "score": 0 } } ]

{ "question": "I was asked to incorporate a modulation that goes one semitone up in a song initially written in G. So at some point it should go from G to G#. I am having a lot of trouble finding a relatively nice sounding chords to transition smoothly from G to G#. Is there some known trick or commonly used chord(s) that makes this modulation flow nicely ?", "title": "modulating from G major to G# major", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-progressions><modulation>", "link": "music.stackexchange.com/questions/58750", "author": "music.stackexchange.com/users/30493/Joulin Nicolas" }

[ [ "With most modulation there is a balance of technique (harmonically) and dynamics. if you lack the technique to make the modulation, you can always set your audience up for a would be jarring transition by slowing down, and lowering to volume, then coming back to speed and volume after a simple chromatic step up. The augmented fifth is always an interesting sound, and could be a nice hint for your listeners. ", "The augmented fifth is always an interesting sound, and could be a nice hint for your listeners. " ] ]

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[ 7 ]

[ [ "Harmonically there is a balance of technique (harmonically) and dynamics. The augmented fifth is always an interesting sound, and could be a nice hint for your listeners. If you lack the technique, you can always set your audience up for a would be jarring transition by slowing down, and lowering to volume." ] ]

[ { "sents": [ { "text": "Uncannily, youtube suggested this video for me to watch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The instrument here is a an Istanbul Clap Stack.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thank you youtube!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 3 } }, { "sents": [ { "text": "Not sure what you mean by \"ensemble\" hand claps, though there are a few ways drummers have tried to emulate electronic clap sounds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically, they boil down to various rim-flam techniques .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can experiment and adapt whatever sorts of drums you have available.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/31335/Sarkreth", "score": 2 } }, { "sents": [ { "text": "I wanted such an instrument to cover some pop songs tomorrow, e.g. Macklemore's \"Thrift Shop\" at 00:30:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also couldn't find anything I could easily buy at a music store, so I experimented with household items.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I imagined maybe a folding paper or plastic fan might work, but I didn't have one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I found you can get pretty close with half a deck of cards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hold the half-deck in one hand and use the other hand's thumb to do a controlled snap on the short side, like a flip book but really fast.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's easy to improve technique by playing around with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've found that if you hold the deck in a shape like, um... remember those old-school rubber erasers?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you make your deck look like that, you add on more choral \"voices\" (separation between claps), and sounds even more like an ensemble clap.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, not loud enough by itself", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I plan to hold it near a microphone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6041/Andrew Cheong", "score": 2 } }, { "sents": [ { "text": "I don't think I've encountered an acoustic instrument as a percussionist that perfectly emulates a hand clap sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Typically you could use something like a small whip (two boards hinged together), or large castanets to provide a similar effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "SONOR apparently makes a 'hand clap box' that is supposed to sound like hand clapping and would be playable by a single musician", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Although personally I think it sounds too close to a woodblock): http://www.sonor.com/instruments/percussion/hand-percussion-add-ons/hand-clap-block/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43119/John Stark", "score": 1 } }, { "sents": [ { "text": "There was an acoustic clapping device that was a metal rod and it had plastic or hard rubber discs that you slid down to create the clap sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Haven't seen it in years......", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58914/TImothy Strelau", "score": 1 } }, { "sents": [ { "text": "Though you do specifically ask for acoustic percussion instruments, I'll answer off topic that, in terms of faithfully simulating a sound, an electronic sample would be very effective and there are hardware form factors that would work nicely in a live, acoustic group setting: pad or button to trigger, built-in speaker, etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43889/Die Hard", "score": 0 } } ]

{ "question": "When there's a group of musicians playing, it's often not practical for several of them to stop what they're doing so they can clap instead, so is there an acoustic percussion instrument that can be played by one person, that sounds like ensemble handclaps, i.e a group of people clapping together?", "title": "What acoustic percussion instrument sounds like handclaps?", "forum": "music.stackexchange.com", "question_tags": "<percussion>", "link": "music.stackexchange.com/questions/60654", "author": "music.stackexchange.com/users/9426/Brian THOMAS" }

[ [ "An electronic sample would be very effective in simulating a sound and there are hardware form factors that would work nicely in a live, acoustic group setting: pad or button to trigger, built-in speaker, etc.", "There are hardware form factors that would work nicely in a live, acoustic group setting." ] ]

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[ 7 ]

[ [ "In terms of faithfully simulating a sound, an electronic sample would be very effective. There are hardware form factors that would work nicely in a live, acoustic group setting." ] ]

[ { "sents": [ { "text": "It prevents the appearance of an overfull measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without it, what we see on this staff is a quarter-note chord, a half-note chord, and a quarter-note chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1/4 + 1/2 = 3/4, and we're in the time signature 3/4, so the measure should be done already.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then where does that quarter-note chord on the third beat come from?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It comes from another voice, as Todd Wilcox says — a voice that's silent on the second beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By writing a quarter-rest for that voice on the second beat, and writing it on the staff where it's about to have some notes, we properly set up, in advance, when that chord takes place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, the quarter-note duration already exists on the upper staff, but that's a long long way away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The rest establishes that information locally , on the lower staff, to improve clarity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/14840/hobbs", "score": 36 } }, { "sents": [ { "text": "The score has three voices.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can call them the \"lower voice\", \"middle voice\" and \"upper voice\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The lower voice is completely notated on the bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The upper voice is completely notated on the treble clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The middle voice switches back and forth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When the middle voice is in the treble clef, its notes have down stems, and vice versa when the middle voice is in the bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the first measure, the middle voice plays the G and Bb quarter notes (crotchets) that are in the treble clef with down stems below middle C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second beat the middle voice plays the rest that you are asking about.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the third beat the middle voice plays the C below middle C and the Eb just above it, notated on the bass clef with up stems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A bigger question is where is the middle voice for the first two beats of measure two?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And I'm a bit wrong because measure three seems to have four voices in it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Perhaps that's the titular enigma.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Edit:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On further consideration, I think there are four voices the whole time, and it's just notated in an unclear manner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think the lower middle voice plays the Eb below middle C that is the top note of the first chord in the bass clef, then the lower middle voice rests for the second beat, and then the third beat is the C and Eb in the bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The upper middle voice is the G and Bb below middle C in the treble clef for the first beat, then the second and third beats are the middle Cs that are the lowest notes of the treble clef chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then they proceed from there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 19 } }, { "sents": [ { "text": "Though clear, it would be marked wrong in a theory exam.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The correct notation would actually be this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each voice technically needs to show a complete bars worth of beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 10 } }, { "sents": [ { "text": "As others have said, there are multiple voices.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pictures are helpful:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 6 } }, { "sents": [ { "text": "Common practice nowadays is to show all notes that are played simultaneously on a staff using a single stem if they start and end at the same time, and if nothing else will happen on that staff during that time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is done even in choral music where a staff is shared e.g. between soprano and alto, or between tenor and bass.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Notation is only divided into up-stem and down-stem portions at beats where different notes start and end at different times, or when there are distinguishable voices (e.g. sopranos and altos) and some but not all should refrain from singing on that beat.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In beat 2 of measure 1, bass clef, not everything is supposed to sustain a half note, but something else is supposed to happen during that time (i.e. some quarter notes are supposed to play on beat 3).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Thus, at beat 2 the bass clef splits into two logical voices, one of which plays half notes, and the other of which rests for a quarter note and then plays quarter notes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Note that on beat 3 of measure 2, the treble clef actually has three voices, with the middle one playing a quarter note while the outer ones play eighths.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The bottom voice is beamed with the eighth note on the second half of beat 3 in the bass clef because doing so avoids having to write an eighth rest for the first half of that beat, and because it makes clear that that note starts at the same time as the quarter note but lasts a different duration.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Had the bass clef not had an eighth note that could be beamed to that note in the treble clef, other ways of notating that measure would be: Notate the treble clef with homophonic eighth notes including a \"d\" which is tied to another \"d\",", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "avoiding the need for quarter notes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This would avoid crossed stems, but such ties can make music hard to read. Place the \"a\" on the same stem as the \"e\" and \"g\" above.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This would avoid the need for ties, but at the expense of crossed stems.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Stack the notes as they are, but use a \"flagged\" eighth note on beat 3, and add an eighth rest for the second half of that beat.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Compared with the above, the use of the cross-staff eighth-note beam was a reasonable \"least of evils\" judgment.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 1 } }, { "sents": [ { "text": "A chord on a staff is executed immediately after the preceding chord, held for its full duration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the quarter-rest were absent, the (c e-flat) chord at the end of the 1st bar would be played on the 4th beat, instead of the 3rd, as we would infer from its alignment with the chord in the upper staff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The quarter-rest explicitly indicates a splitting of the lower staff into two simultaneous \"voices\", but only in a notational sense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no functional splitting of voices.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At a large scale, I would say the voices act functionally as follows, though individual subvoices become discernable around the eighth-notes:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/31357/Gooseberry", "score": 0 } } ]

{ "question": "Beginner warning :-) This is the piano sheet music for Elgar’s Variation, Nimrod. Please do note: I am currently learning time and key signatures with my theory teacher, but in looking at the music here I can not understand why this rest is required.", "title": "Why you need a rest here in this score?", "forum": "music.stackexchange.com", "question_tags": "<theory><notation>", "link": "music.stackexchange.com/questions/63743", "author": "music.stackexchange.com/users/35647/cmp" }

[ [ "Common practice nowadays is to show all notes that are played simultaneously on a staff using a single stem if they start and end at the same time, and if nothing else will happen on that staff during that time. This is done even in choral music where a staff is shared e.g. between soprano and alto, or between tenor and bass. Notation is only divided into up-stem and down-stem portions at beats where different notes start and end at different times, or when there are distinguishable voices (e.g. sopranos and altos) and some but not all should refrain from singing on that beat. ", "Notation can be complex, such as if the bass clef had three voices and the middle one played a quarter note, and the outer ones played eighths." ] ]

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[ 7 ]

[ [ "Notation is divided into up-stem and down-stem portions at beats where different notes start and end at different times or when there are distinguishable voices. Some but not all should refrain from singing on that beat, and some notes should be beamed to other notes on the same beat. Notation can be complex, such as if the bass clef had three voices and the middle one played a quarter note, and the outer ones played eighths. Notations can also include homophonic eighth notes including a \"d\" which is tied to another \"d\", avoiding the need for quarter notes, or a \"flagged\" eighth note on beat 3, and an eighth rest for the second half of that beat. The use of the cross-staff eighth-note beam was a reasonable \"least of evils\" judgment in the case of the treble clef, which had no eighth note that could beamed from the bass to that note in the trebled clef. In some cases, the use of a single stem can lead to hard-to-read notes, like the \"a\" and \"g\" on the stem, which can make music hard to read." ] ]

[ { "sents": [ { "text": "Sorry, No You won't be able to get a good recording of a microphone in a line level input.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's because microphones put out a very low level mic level signal that has to be amplified up to line level using a mic preamp .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without a mic preamp, it doesn't matter what cables you use, the signal level will be too low.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What you can do is use a transformer like the image below and plug the mic into an XLR cable, then plug the other end of the cable into the transformer, and plug the transformer into any instrument input.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instrument inputs are what guitar amps have and are often found on audio interfaces and on some mixers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The type of cable used to carry an audio signal has no effect on the level of that signal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can apply mic/instrument level signals to 1/4\" TS, 1/4\" TRS, or XLR cables and connectors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can also apply line level signals to 1/4\" TS, 1/4\" TRS, or XLR cables and connectors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can but shouldn't apply speaker level signals to 1/4\" TRS or XLR cables and connectors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should only use speaker cable (which has to large gauge stranded wires in it, and no shield) terminated with 1/4\" TS connectors or Neutrik Speakon connectors or spade lugs or banana lugs or in the worst case scenario bare wires (don't use bare wires with high powered PA amplifiers).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 2 } }, { "sents": [ { "text": "If your recording device only has 1/4\" inputs, then your best option would be to purchase an inexpensive mic preamp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The output of the preamp will be at line level which you can record via 1/4\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Art Tube MP preamp is going for $40 at Musicians Friend and it includes a 1/4\" output.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ART Tube MP Studio Mic Preamp", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could probably find one even cheaper if you are willing to buy used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24430/Tekkerue", "score": 2 } }, { "sents": [ { "text": "At one venue I use, I normally have an SM58 going straight into an XLR on the p.a.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Recently, there's been a different head with only jacks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I made up a lead between XLR and jack (male) which goes straight into the new head - it sounds better in the 'low' impedance socket - but it would, being a low impedance mic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't know about TRS jack plugs, though - they usually get used with stereo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just thought - a different venue with a Bose p.a. has XLR, and for this I made up a TRS to canon (XLR) lead, to plug in a (stereo) keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This has all 3 pins on XLR connected to all 3 contacts on the TRS - all separate of course!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That works fine too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Perhaps you can say what the application is to be used for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Several different come to mind, and will require different wiring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "For one thing, everything between the source of the sound and the device recording it adds interference/lowers the quality of the signal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This includes an adaptor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want a good quality signal, get or make the right cable and also add a pre-amp because phantom power on a DI box or mixer will probably not cut the mustard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For mics I would never suggest any connection type other than XLR to XLR.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A good quality recording device will have XLR in and so will the pre-amp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47316/Anj Avraam", "score": 1 } }, { "sents": [ { "text": "You'll either need a preamp or you could consider a USB mic which is the easiest way, though divides opinion when it comes to sound quality.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47336/Tim", "score": 1 } }, { "sents": [ { "text": "First off, I know this is a year and a half late.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Second, the microphone is what determines the signal strength, not the cable.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "All microphones I've seen have a mic level output.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Also, XLR can carry a line-level signal, and TS/TRS/TRRS/TRRRS can carry a mic-level signal.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Next, I'm assuming you wanted an XLR to TS", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Tip-Sleeve) cable, even though you said \"TRS.\"", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Tip-Ring-Sleeve).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'm assuming this because most people, when they use a balanced signal, will use XLR.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "An XLR to TS cable will actually convert it into a half mic-level signal.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "That's because XLR is balanced (one of the audio signals (the one on your right when looking at the socket, your left when looking at the plug) is initially inverted, and is reinverted (so now no longer inverted), and any noise picked up is cancelled out thanks to interference), and TS is not.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "You'd lose one of the signals, since it goes to the ground, instead.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61366/x Hades Stamps", "score": 1 } } ]

{ "question": "Can a XLR female to 1/4 inch adapter give power like a XLR input. I want to record dynamic mics into an line input. Will a TRS 1/4 inch cable give same level signal as xlr audio input.", "title": "Will an XLR female to 1/4\" TRS plug work to connect a dynamic microphone?", "forum": "music.stackexchange.com", "question_tags": "<recording><homerecording>", "link": "music.stackexchange.com/questions/65894", "author": "music.stackexchange.com/users/46702/Balkrishna Shetkar" }

[ [ "For a TRS 1/4 inch cable to give the same level signal as xlr audio input, you'll either need a preamp or you could consider a USB mic which is the easiest way, though divides opinion when it comes to sound quality. The microphone is what determines the signal strength, not the cable. All microphones have a mic level output.", "The microphone is what determines the signal strength, not the cable" ] ]

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[ 7 ]

[ [ "The microphone is what determines the signal strength, not the cable. All microphones have a mic level output. XLR can carry a line-level signal, and TS/TRS/TRRS/TRRRS can carried a mic- level signal. An XLR to TS cable will actually convert it into a half mic-level signal. You'd lose one of the signals, since it goes to the ground, instead of the plug, so you'd need a preamp or you could consider a USB mic. The easiest way is the easiest way, though divides opinion when it comes to sound quality." ] ]

[ { "sents": [ { "text": "Yes, you'll want to play E♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "–F–", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E♭ before the final two sixteenth notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My personal suggestion is more along the lines of: But some purists will insist on the rhythm of the D–E♭ being precisely as written, and therefore:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is where your own interpretation comes into play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I recommend listening to as many recordings of this opening as you can find; you'll find several interpretations of how others have approached this trill, and they can help inform your own interpretation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "User 11684", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "very helpfully pointed out that the above interpretations are actually not consistent with performance practice of the Classical period.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Their answer deserves your attention!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Oddly, my four recordings of this sonata all include the top interpretation above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems that the historically accurate interpretations would begin on the upper note, suggesting either: or:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 20 } }, { "sents": [ { "text": "Both other answers overlook a crucial point.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In Mozart (and contemporaries and earlier composers) trills should generally start on the upper note, which is the case here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, many professional pianists do not know this and start on the lower note anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is, historically, simply wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are plenty of sources on this, for example CPE Bach’s Versuch über die wahre Art das Clavier zu spielen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, it’s fast, but it should be “F Eb F Eb D Eb” (with extra “F Eb” added if you have time, but I guess not).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The good news is that the sixteenth notes probably are just there to indicate a nachschlag , so you can play them later and shorter than written.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3113/11684", "score": 13 } }, { "sents": [ { "text": "Well, if you can fit two trills there, it's certainly better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least it's what some performers do, despite the fast tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that case, you certainly do not care about the timing inside the beat and play it basically as one long ornamentation of the quarter Eb note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I hope my ears don't betray me and here it's really played as Eb--", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb-F-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb-F-Eb-D-Eb:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2576/yo'", "score": 4 } }, { "sents": [ { "text": "The ABRSM edition (pub 1982) - an Urtext edition, as much as is possible with Mozart - has these notes, from Stanley Sadie: Editorial realizations of ornaments are shown in small notes above the text at the first occurrence of the ornament concerned in each movement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These realizations are based on the leading sources contemporary with Mozart, such as CPE Bach's Versuch über die wahre Art das", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Clavier zu", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "spielen", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(1753-62), Leopold Mozart's Versuch einer gründlichen Violinschule (1756) and Daniel Gottlob Türk's Clavierschule (1789) ... ... in a trill a player should feel free to play more notes, or fewer, as seems right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No ornament that feels awkward to the player, or sounds clumsy, is being satisfactorily realized.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A player who wants to vary the realization of ornaments more extensively ... should note that except in very rare circumstances a trill should begin on the upper note in music of this period", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The editorial realization given has demisemiquaver (32nd note) F E♭ F E♭ then semiquaver (16th note)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D E♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Every performance I can find on YouTube is in line with this .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The awkwardness involved with a repeated E♭ at this tempo would (IMO) sound terrible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6954/AakashM", "score": 4 } }, { "sents": [ { "text": "Trills generally begin on the upper note, yes, but this is an exception.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this trill were to begin on the upper note, then the preceding sixteenth note (e-flat) would sound like it is part of the trill, thus giving the impression of a trill that started on the main note too early.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/71558/GSHAPIROY", "score": 1 } }, { "sents": [ { "text": "I must respectfully disagree with almost all the recent comments above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "CPE Bach says the following: All embellishments... must not corrupt the purity of the voice leading (Eulenburg edition p 95 point 17 and his examples figure 81).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In this case the melodic line is a very obvious ascent up the C minor arpeggio", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(C to Eb to G) and therefore the F would be a most illogical/ unwelcome note to accentuate or focus on.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In music there are always competing rules and we must weigh up (through our ear) which rule offers the most musical solution.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/60854/fattymatty", "score": 0 } } ]

{ "question": "How does one play this trill in this Mozart Sonata? Does it mean we play 3 notes (Eb, F, Eb) before the last two notes of the second bar? Or how many trills does one have to play?", "title": "How to play this trill in Mozart's Piano Sonata 14 (K457)", "forum": "music.stackexchange.com", "question_tags": "<piano><notation><ornaments><trills><mozart>", "link": "music.stackexchange.com/questions/66556", "author": "music.stackexchange.com/users/44653/Matriz" }

[ [ "How to play the trill in Mozart's Piano Sonata 14 (K457): CPE Bach says the following: All embellishments... must not corrupt the purity of the voice leading (Eulenburg edition p 95 point 17 and his examples figure 81). In this case the melodic line is a very obvious ascent up the C minor arpeggio (C to Eb to G) and therefore the F would be a most illogical/ unwelcome note to accentuate or focus on. In music there are always competing rules and we must weigh up (through our ear) which rule offers the most musical solution. ", "In music there are always competing rules and we must weigh up which rule offers the most musical solution." ] ]

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[ 7 ]

[ [ "ICPE Bach says the following: All embellishments... must not corrupt the purity of the voice leading. In this case the melodic line is a very obvious ascent up the C minor arpeggio. F would be a most illogical/ unwelcome note to accentuate or focus on. In music there are always competing rules and we must weigh up which rule offers the most musical solution." ] ]

[ { "sents": [ { "text": "6/8 is duple time - the bar is split into two equal parts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the first note, a dotted crotchet, it makes the first half.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no reason to have two quaver rests at the end in 6/8 - a crotchet rest will suffice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having said that, it would also be fine in 3/4 time, which would query the dotted crotchet at the beginning, which may be more acceptable (in 3/4) as a crotchet tied to a quaver.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, we see this sort of thing more and more - notes across the middle of 4/4 for example, so perhaps we just need to get used to what used to be called sloppy writing...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an aside, should one give out work that one hasn't scrutinised for potential discrepancies, with all possible answers researched?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe another way to read it is using notes in place of rests.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As in, would the last note have to be two tied quavers, or would a crotchet be acceptable?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "If this were 3/4, 'old' theory would demand the dotted quarter was written as a quarter tied to an 8th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OK, we don't always do that now.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But in 3/4 the bar would be completed with a single quarter rest, not two 8ths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can't wriggle out of that one!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's 6/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 7 } }, { "sents": [ { "text": "The grouping of the rest tells you it is 6/8 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it was 3/4 time the last two quaver rests would be a crotchet rest as to better indicate the crotchet beats, this time signature has two beats of dotted crotchets that is better illustrated with the given rest grouping.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 2 } }, { "sents": [ { "text": "To the best of my knowledge, they are not the same.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3/4 feels like there are 3 \"binary\" beats each bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of waltz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "6/8 feels like there are only two beats and where each beat can be felt as having 3 subdivisions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it's a matter of figuring out the \"beats\" that there are on the bar cause", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "they feel completely different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Coming from Venezuela myself, I know in venezuelan music there are some types of music where they can be mixed (and which is very tricky to figure out for people from other countries).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best example I can think of right now is \"Preludio Criollo\" by Rodrigo Riera where he has the bass voice going on 3/4 and yet the main voice is going 6/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tricky to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Talking about (venezuelan) genres, probably Pajarillo or other varieties of Joropo like \"Seis por Derecho\" are the hardest to pick up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48531/eftshift0", "score": 2 } }, { "sents": [ { "text": "For the most part: the best way I explain it my lead guitarist; (Who plays as well as Chet Atkins did, but my guy can't read music); is to just think of it as a waltz no matter what and follow my bass guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have only noticed it wrote that way in hymnals usually.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They use 6/8, 9/8 and so forth to control the layout of the music to fit one or two pages at the most.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example \"Softly and Tenderly\" is written in my hymnal as 6/8", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "but I can just as easily convert it to 3/4 and", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "it will play exactly the same way.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It just requires more bars to write it out.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Double the amount of bars in this case.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61664/Richard Terry", "score": 1 } } ]

{ "question": "When I gave a worksheet today, 2 of my students labeled this notation as 3/4 time, simple triple. Are they wrong or is this acceptable? If it's not acceptable, why? Is it simply because it wouldn't make sense to use 2 eighth rests at the end here in 3/4 time?", "title": "Can this notation be considered either 3/4 or 6/8 time?", "forum": "music.stackexchange.com", "question_tags": "<time-signatures>", "link": "music.stackexchange.com/questions/67657", "author": "music.stackexchange.com/users/48696/John MC" }

[ [ " They use 6/8, 9/8 and so forth to control the layout of the music to fit one or two pages at the most. For example \"Softly and Tenderly\" is written in a hymnal as 6/8 but it can just as easily be converted to 3/4 and it will play exactly the same way. It just requires more bars to write it out.", "Double the amount of bars in this case." ] ]

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[ 7 ]

[ [ "They use 6/8, 9/8 and so forth to control the layout of the music to fit one or two pages at the most. Double the amount of bars in this case." ] ]

[ { "sents": [ { "text": "There are various solution to neck dive.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm afraid my solution doesn't look very cool, but it works for me - fasten the strap at the headstock, rather than the neck heel or top horn.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find that especially comfortable with a nice wide strap; sometimes a wide strap on its own helps, but it's the headstock anchoring that really allows it to hang stably and free up my fretting hand for fretting instead of holding the instrument up.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bass guitar forums are a good place to search for solutions for neck dive, as it's a common problem with bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 5 } }, { "sents": [ { "text": "When seated, the guitar will be either on your left or right thigh - most seem to favour right, although the accepted for classical is left.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "When you stand up, the centre of gravity changes, mainly due to where the strap buttons support the guitar.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "The lower the guitar is slung, the more exaggerated the problem is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A strap that doesn't slide round is probably the only answer.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "This is an issue on bass also - you could try lighter tuners, there is a surprising amount of weight in six of those.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try and find ones where the screw holes are in the same places to avoid excessive damage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also consider a more grippy strap that will shift around less so you can place your guitar where you want and balance will not be an issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/36503/bigbadmouse", "score": 3 } }, { "sents": [ { "text": "Hollow bodies naturally have lighter bodies, so they are more prone to neck dive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Short scale basses also suffer from this issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get yourself a long, wide, soft strap", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "(Ernie Ball makes a good one) that you can adjust well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lengthen the strap, pulling the ax downwards and neck upwards, wedging it with the strap around your shoulder and back.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Keep experimenting until you find the right angle for you - take your time until you find the right point of balance.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually you will find it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes you will have to raise the headstock quite a bit to get into a comfortable playing position, depending on your style of play.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "You can also try putting something heavy down by the bottom of the guitar to pull the neck back up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's a good thread from TalkBass.com about it the problem: Short scale, hollow/semi-hollow with no neck dive?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I picked up a cheap Rogue VB100 violin bass and like the sound (with some setup work and flats) - but it has terminal neck dive (as I expected).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I \"solved\" the problem by putting 8 oz of fishing sinkers in a Neotech wireless pouch on the strap - not a very elegant solution...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lots more there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10902/Stinkfoot", "score": 2 } }, { "sents": [ { "text": "You could experiment with different straps.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Some straps are elastic, to mitigate the weight of heavier guitars (Les Paul, basses).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "My guess is such a strap might allow you to balance the weight of the guitar better when standing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even better, I have a leather strap that is suede on the inside.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "It really doesn't slide over my shoulders.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "It is kind of annoying, if I adjust the angle of the guitar, it makes my shirt bunch up!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I imagine it could help with neck dive as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48473/scott", "score": 1 } }, { "sents": [ { "text": "Pick up your guitar, strap up, and stand up with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take the strap off of the peg on the bottom of your guitars body and hold it there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let go of your neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most likely the body dove toward the floor, since most likely it's much heavier than the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Grab the neck again and put it in a comfortable playing position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While balancing the guitar, move the strap button up toward your low E string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually you'll find the spot where it balances correctly.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Mark it with a pencil and drill a hole there for a new strap button.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Move strap button to new spot; no more dives.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44188/Tama", "score": 1 } } ]

{ "question": "I have an arch-top Epiphone that I really like the feel of the neck when I'm playing seated, but when I stand and play, the weight of the headstock and neck keep making a dive for the floor and I spend a lot of time and energy just trying to keep it propped up in a comfortable playing position. Any one have a workable solution for me?", "title": "How to deal with a guitar balance problem?", "forum": "music.stackexchange.com", "question_tags": "<guitar><technique><performing>", "link": "music.stackexchange.com/questions/69601", "author": "music.stackexchange.com/users/44636/skinny peacock" }

[ [ "When you play an Am fingering with a capo on the 4th fret, the sounding chord is C#m and sound is what counts. When other people listen to your guitar and sing or play along with it, they don't need to know how you used a capo. The capo thing can get real confusing and all the capo cheat sheets online look different, so its hard to know what's the best logic to use to figure this stuff out. The best logic to understand how it functions is to learn the chromatic scale to learn the names of the strings and to understand what tones will sound when you play a certain chord pattern ", "You could experiment with different straps and you eventually you'll find the spot where it balances correctly." ] ]

{ "rel_sent_not_in_cluster": [ true ], "cluster_sents_not_matched": [ [ "When other people listen to your guitar and sing or play along with it, they don't need to know how you used a capo.", "When you play an Am fingering with a capo on the 4th fret, the sounding chord is C#m and sound is what counts .", "The best logic to understand how it functions is: to learn the chromatic scale to learn the names of the strings to understand what tones will sound when you play a certain chord pattern", "The capo thing can get real confusing and all the capo cheat sheets online look different, so its hard to know what's the best logic to use to figure this stuff out." ] ] }

[ 7 ]

[ [ "Fasten the strap around the neck rather than at the headstock. I prefer to use a wide strap instead of a for these, because it holds the instrument well and frees up my hand.", "When you're seated, the guitar will be on your left or right - the majority of guitarists prefer to sit on their left, but it's normally seated to the thigh.", "Tightening a strap is the only way to make it more comfortable. Straps are made from elastomerized materials to help reduce the weight of heavier instruments. You could experiment with different straps. Drill a hole and mark the new strap there with a pencil to mount a new button. It will balance when the weight is in the center of the scale." ] ]

[ { "sents": [ { "text": "Consider the following two measures from the piano transcription of the song \"You'll Be Back\" from Hamilton :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In case it's not clear, the top line of music is the vocals, the middle line is the right hand piano part, and the bottom line of music is the left hand piano part.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This shows a very common style of arrangement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The singer sings the vocal melody, the right hand plays chords and the left hand plays the bass line.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes the right hand part is transcribed to double the vocal melody.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That means the right hand is playing the melody and the chords at the same time and the singer would sing the exact same notes as the melody notes that the right hand is playing (the left hand usually still plays the bass line in these cases).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Those transcriptions are usually meant to make things easier for the singer by giving them a melody to follow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you listen closely to professional singers and pianists, most of the time the vocal melody is completely separate from the piano part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 13 } }, { "sents": [ { "text": "First, get rid of the idea that LH chords, RH melody is 'normal'.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If solo keyboard, who's doing the bass line?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If in a band, your role may be to play melody, play a counter-melody or 'fill-ins' or play chords.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Probably just one of those.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Back to your question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe it's the sort of song that could be effectively accompanied by simple guitar strumming.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Fine, emulate this on the keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Very often a strong bass line would best help the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try this in the LH with sustained or rhythmic chords in the RH.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe doubling the melody is appropriate (but probably not ALL the time).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or lots of other possibilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think 'support'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If in doubt, play less.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 12 } }, { "sents": [ { "text": "Very dependent on the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some benefit from a bass line with l.h. -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "maybe a walking bass - some from l.h. chords, some from single bass notes l.h. and chords in r.h., some from partial chords with both hands, some with a counter melody in r.h.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, think of a combination, and there'll be a song in which it will", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ft.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or think of a song, and decide which combination fits best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But don't do the same idea in each and every song!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "Assuming that you don't read sheet music, and are learning to play by ear?It depends upon the song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many singers play chord figures with the left hand, and arpeggios with the right, during the interludes between vocals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Paul McCartney tended to play chords with both hands, during his singing of the verses and the chorus, and subtly alternate the timing on the down-beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have found that I can most easily play while singing, but usually while gently playing chords with the right hand, and striking just the bass note for each chord with the left.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each performer develops their own style, in the end.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47131/Sparquelito", "score": 3 } }, { "sents": [ { "text": "If you're just talking about being the piano man , then all you need is some chords and maybe a little countermelody here and there.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "But if you take a look at classical piano + voice pieces (which granted can be difficult to perform solo), you'll see a full chord and melodic structure in the piano part which complements, rather than duplicating, the singer's melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then again, there's no strict rule that the melody can't dive into the bass here and there with some \"twinkle\" notes or chords in the treble range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 3 } }, { "sents": [ { "text": "If you are singing, that is the melody, so you would play harmony on the piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which hand plays which part is totally up to the arrangement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One hand should at a minimum keep the rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Depending on the vocal range of the singer, a counter melody, baseline (usually left hand), chordal harmony, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "will all leave space for the singer's voice as well as other potential instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could also add a melodic harmony, playing octaves, 4ths, 5ths, or some other part right along with the vocals.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "When the phrasing of the singer is paused after a line, the piano parts can alter quite a bit and temporarily run into the range of the singer for some sort of riff or fill - then back out again before the singing resumes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, you can throw every bit of structure out the window whenever appropriate for the desired effect of the song!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the singer is amplified, you can collide a bit more, as long as the melody, or lead, can still be heard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37144/Paul", "score": 0 } } ]

{ "question": "If we want to play a song on a keyboard, the right hand plays the melody and the left hand plays the chords. What is the case if I want to sing the song? Should one hand play the chords? Which hand should this be, and what about the other hand?", "title": "What should I play on a keyboard to accompany singing?", "forum": "music.stackexchange.com", "question_tags": "<keyboard>", "link": "music.stackexchange.com/questions/69792", "author": "music.stackexchange.com/users/49398/prem prakash" }

[ [ " In case it's not clear, the top line of music is the vocals, the middle line is the right hand piano part, and the bottom line of music is the left hand piano part. The singer sings the vocal melody, the right hand plays chords and the left hand plays the bass line. Sometimes the right hand part is transcribed to double the vocal melody. That means the right hand is playing the melody and the chords at the same time and the singer would sing the exact same notes as the melody notes that the right hand is playing (the left hand usually still plays the bass line in these cases.", "Τhe singer does the vocal melody, and the guitarist plays the accompanying chords. " ] ]

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[ 7 ]

[ [ "For the record, the main musical part is the vocal tracks, the secondary musical is the right hand piano tracks. Τhe singer does the vocal melody, and the guitarist plays the accompanying chords. Doubling the vocal melodies, the left hand typically plays the bass line. " ] ]

[ { "sents": [ { "text": "Jazz is an unbelievably expansive genre with over 100 years of musical tradition; a big part of this tradition is an ever-increasing list of sub-genres that fall under the larger umbrella term of \"jazz.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your \"(I'm guessing it is)\" is encouraging; it suggests you realize it's maybe a little silly to think you can mimic such a broad tradition by \"just randomly add[ing] sevenths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" It's a bit like asking if we can mimic Classical music by \"just randomly adding cellos.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But more than that, you've unintentionally simplified jazz to just one musical feature: harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The jazz genre includes particularities of rhythm, of meter, of instrumentation and voicing, of articulation, of interpretation, of phrasing, you name it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And included in that list, yes, is harmony.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Suggesting that you can play jazz just by adding sevenths suggests that the only thing that makes jazz jazz is harmony, which is clearly not the case.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playing jazz requires an awareness (and eventually mastery) of everything that makes jazz jazz, not just this one feature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, playing jazz takes quite a bit more than adding sevenths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All great things take time and patience, and jazz is no exception.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're asking about first steps in jazz piano, most people would suggest, as you've intuited, learning your ii7–V7–I7 pattern in all major and minor keys; doing so will teach you quick resolutions of minor sevenths, dominant sevenths, and half-diminished sevenths built on all twelve chromatic pitches.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 51 } }, { "sents": [ { "text": "Ninths are good too!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even thirteenths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, there's more to jazz than extended chords, though you'll certainly need more than triads to play it, so start learning m7, maj7, 9, b9 etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "chords", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so they're ready for when you work out what jazz IS.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And that's a big question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start with a New Orleans Blues, travel to Miles Davis and beyond...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But whatever style you choose to explore first, yes you'll need some 7th chords.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're really into rock/pop and just want a quick, easy jazz flavour, slip in a 'b5 substitution'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In place of Dm7, G7, C impress your friends with Dm7, Db7, Cmaj7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But again, yes you'll need a vocabulary of 7th chords to even start this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But don't try to enter the world of jazz through the 'theory'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get some jazz sheets and learn the chords you need to play them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 19 } }, { "sents": [ { "text": "If you are trying to move towards learning jazz, you should learn your 7th chords (esp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "dominant, major, and minor).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After you get the hang of these, you can learn less common 7ths as well as extended chords out to 9/11/13.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are not too familiar with jazz, the most important thing you can do is to listen to a lot of good music in this genre.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "To keep things simple, I would suggest starting with blues.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is technically its own genre of music, but the form is simpler and the harmony tends to be less complicated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47856/Heather S.", "score": 6 } }, { "sents": [ { "text": "If I wanted to play jazz do I just add sevenths (ie dominant7, major7, minor7) to chords in my chord progressions or is it alot more involved than that?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I'm guessing it is).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This very abbreviated list should help you answer this question: The Jazz Language: A Theory Text for Jazz Composition andImprovisation Jazz Theory Resources:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Volume 1 Jazzology: The Encyclopedia of Jazz Theory for AllMusicians Fundamental Changes in Jazz Guitar: An In Depth Study of Majorii V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bebop Soloing:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Master Jazz Guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Soloing", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Jazz Theory Book @Richard's answer explains why these books were written and are popular, as well as numerous others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another very easy way to answer your question", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": Look through a book like this, and see how well you do", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "*by just adding sevenths (ie dominant7, major7, minor7) to the chords instead of the suggested chords, which often include far more than just 7th chords.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "* :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Hal Leonard Real Jazz Standards Fake Book: C Edition", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10902/Stinkfoot", "score": 5 } }, { "sents": [ { "text": "When I was playing rhythm guitar in a swing band there were many times when I would only play root, third and fifth of a chord as the horns were (many times) covering the 'weird' notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, in chording for jazz you don't always need the 7th and beyond.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Richard stated above - there is much more to playing jazz (or other genres) than just the chord patterns chosen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is much to explore.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's what is so wonderful about learning and playing music - there is always something new to learn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've had classical and jazz guitar lessons.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Played bass (with no training) in a rock band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I now play acoustic and electric guitar at church doing praise & worship stuff and also play mandolin and guitar in a bluegrass band.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm continually learning new stuff as that's what keeps me interested (I do the same in my day job as a software geek).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Happy playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/48532/JazzmanJim", "score": 4 } } ]

{ "question": "I've been up until now just practicing triads on all major/minor keys. If I wanted to play jazz do I just add sevenths (ie dominant7, major7, minor7) to chords in my chord progressions or is it alot more involved than that? (I'm guessing it is).", "title": "To get to jazz do I just add a seventh?", "forum": "music.stackexchange.com", "question_tags": "<theory><piano><jazz><beginner>", "link": "music.stackexchange.com/questions/70398", "author": "music.stackexchange.com/users/None/" }

[ [ "The jazz genre includes particularities of rhythm, of meter, of instrumentation and voicing, of articulation, of interpretation, of phrasing, you name it. If you're asking about first steps in jazz piano, most people would suggest, as you've intuited, learning your ii7–V7–I7 pattern in all major and minor keys; doing so will teach you quick resolutions of minor sevenths, dominant sevenths, and half-diminished sevenths built on all twelve chromatic pitches. If you are not too familiar with jazz, the most important thing you can do is to listen to a lot of good music in this genre.", "For music fans who are less familiar with jazz, the most important thing is to hear lot of good music in this genre" ] ]

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[ 7 ]

[ [ "Work on the patterns of I7–V7–I, ii7–V7–I, I7–vi, and I–vi in all major and minor keys. For music fans who are less familiar with jazz, the most important thing is to hear lot of good music in this genre.  Go through a book like this and find out how well you do by replacing sevenths (ie dominant 7, major 7, minor 7) The Hal Leonard Real Jazz Standards Fake Book: C Edition." ] ]

[ { "sents": [ { "text": "Common notation for tenor voice prior to 1900, especially if older than that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See, for example, this TTBB arrangement of Cornell's Alma Mater at Wikipedia .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/15536/Kevin_Kinsey", "score": 11 } }, { "sents": [ { "text": "I’m not familiar with this particular clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, judging by the context, this is equivalent to a treble clef lowered by an octave for the tenor voice part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In choral music today, this is usually represented by a treble clef with an 8 below it, sometimes called an octave clef:", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6851/Ben Miller - Remember Monica", "score": 9 } }, { "sents": [ { "text": "This is very speculative and I hope someone can give a more reliable answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At some stages in the history of printed music, printers may have only had accidentals available on lines; if an accidental was required on a space, for example low F# in treble clef, they would put it on one of the neighbouring lines instead ( reference - see footnote on page 4).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Perhaps the same thing was true of clefs in your example, and the \"D clef\" is actually a C clef which the printer was unable to print correctly on the space below.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This would make the part treble clef (presumably sounding an octave lower), which seems right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The general shape is similar to that of some variant C clefs which are relatively rare today ( image ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50421/David", "score": 6 } }, { "sents": [ { "text": "This is most likely a C-clef, and not a D-clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the History section on the Wikipedia article on clef, there is an indication that an older way of writing the C-clef assumed a \"ladder like form\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the sample you have provided, the clef is indicating the third space on the staff (and not the fourth line) is Middle C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is obscured by the stylistic slanting of the clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wikipedia also has another example of this clef in its article on TTBB choral music, which appears to have held onto this form of writing the C-clef longer than other genres.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50430/nicholas", "score": 5 } }, { "sents": [ { "text": "My understanding is that the C clef was a mobile clef prior to being in a fixed location.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It designated where the C (below middle C) was located.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Much the same as the G clef designated where the G above middle C was located.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you go far enough back to where the staff was split away from 16 lines, there needed to be a clue to what notes would be represented on the particular staff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Alas, my understanding may be entirely wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62039/Randy", "score": 1 } }, { "sents": [ { "text": "As can be looked-up in the Havard Dictionary of Music , the C clef has some very different appearances (middle three of first picture), and the middle one matches your example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would not pay to much attention to the placement, which seems somewhat high.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 0 } }, { "sents": [ { "text": "This was the original sign of the tenor clef, that defines that the middle C (C4) is on the 4th line.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "The tenor part is transcript to G - but the notation is an octave to high.the soprano voice is missing (cut)", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": ", we see at the sheet copy that it is a SATB setting, where the tenor voice originally was set in a C-clef and now it is transcript in a G-clef, that's why the C-clef is written between two brackets.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Irritating is that it's not a G clef with an 8ve below the clef as the tenor must be transposed an octave down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 0 } } ]

{ "question": "I recently came across this score by Henry Work called \"Grandfather's Clock\". And i was a bit confused at first regarding this clef in the chorus. It seems to be a D clef. I was wondering if this clef was popular at the time, or was used for any particular instrument?", "title": "Where was the D clef used?", "forum": "music.stackexchange.com", "question_tags": "<clefs>", "link": "music.stackexchange.com/questions/70859", "author": "music.stackexchange.com/users/10585/garyF" }

[ [ " In the History section on the Wikipedia article on clef, there is an indication that an older way of writing the C-clef assumed a \"ladder like form\". n choral music today, this is usually represented by a treble clef with an 8 below it, sometimes called an octave clef. Perhaps the \"D clef\" is actually a C clef which the printer was unable to print correctly on the space below. ", "The 'D' is actually a 'C' which the printer was unable to print in the corrected space" ] ]

{ "rel_sent_not_in_cluster": [ true ], "cluster_sents_not_matched": [ [ "The tenor part is transcript to G - but the notation is an octave to high. the soprano voice is missing (cut)" ] ] }

[ 7 ]

[ [ "In today's choral music, this would be an octave clef on the treble staff. The 'D' is actually a 'C' which the printer was unable to print in the corrected space. In an older style of writing, the C-major sign represents a \"ladder like form\". However, the tenor part is transposed to a key of G, while the rest remains in their original key. This vital capacity in baritone singers, where one of the major alterations in baritones is the lack of the distinctive soprano voice, which gives them a roughness in the lower notes that is generally compensated for in the tenor and baritone (cut)" ] ]

[ { "sents": [ { "text": "Songwriters tend to start with the chords.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Composers tend to start with a melody.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is a gross and prejudiced over-simplification :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 10 } }, { "sents": [ { "text": "From having heard/read hundreds of accounts of 'how I wrote this hit song' over the years, it's fairly clear that in the world of popular song, approaches that might be characterised as 'Harmony First' and 'Melody First' are both frequently used.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "One extremely common story is for the a concept or a lyrical idea to give rise to a little fragment of sung melody, which then evolves into a song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another common type of story is for a player to be experimenting with an instrument and come up with an interesting sounding riff or progression over which lyrical ideas are generated - e.g.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This account of R.E.M.'s Losin my Religion .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think it's relatively rare in pop music to come up with a complete melody and only then to harmonise it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "What may be more common is to almost simultaneously come up with a melodic fragment and accompanying riff or chords, and expand that structure into a whole song.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "Journey's Don't Stop Believin' is an example of this, as recounted here .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's always interesting to read more accounts to get a feel of how different creative processes can work: Sound on Sound \"Classic Tracks\" ( newer articles", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "require subscription, but most can be read in full ) Keyboard Mag \"Song stories\" Independent \"Story of the song\" One of the things that makes it possible for pop musicians to quickly flesh out an idea in different directions", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is that they will quite often be working in a well-understood form, where there are strong expectations about how a song will evolve, what kinds of chords will be used, how the lyrics will relate to the song structure, the function of the song (e.g. whether it has a dance rhythm, and if so, which one) and so on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These specifics can be very different in different styles (grunge will have very different norms to modern r'n'b), but within a style they often form strong guidelines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think it's probably true across genres that what really comes first (or at least, early on in the process) is a set of assumptions that come from the style that the artist is working in and the function a song will have.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 5 } }, { "sents": [ { "text": "I worked at a newspaper press room where the rhythm of the press inspired me to write songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've written songs where I started with the lyric", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I've written songs where I started with the chord progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can't remember starting with the melody, but each time, each song seemed to come from out of the ethers to me, kind of like an inspiration, so perhaps I'll have the experience of starting with a melody in the future.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I have tried to sit and write a song using any method, that's when I have had disastrous results, it only seems to work for me when I let go of the process.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 4 } }, { "sents": [ { "text": "Chicken or egg?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's anything and everything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's a few words, they often have their own rhythm, so the next part of the chain is automatic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's a melody line, that may well spawn some words.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the same melody comes the opportunity to narrow down the underlying harmonies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could be a set of chords, which again will help dictate what notes fit to produce a tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Inspiration is odd.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One could wake up with the whole caboodle as a finished article, ready to listen to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There certainly isn't a magic formula.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "although an individual may work best with notes first, or words first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or work with another person who is better at what they're not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many, many couples have written many, many good songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Gershwins, Rodgers and Hammerstein, Lennon and McCartney, Elton and Bernie come to mind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What on Earth gave you the idea there may be rules?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "So you want to compose?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I assume your question really is -- what should I start with) ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The answer is both.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But not at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to learn to compose music, you need to train.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One very good suggestion I tend to give is to train a lot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I recommend a regime where you complete one song a day for a month", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "( It is Ok to take Sundays off ) .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "None of the songs will be good, none will survive -- a full wastebasket is a sign that you are learning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So make a plan", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": start every other time with the harmony, every other day with the melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After a month you will know which works best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Anyway, my two cents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/45187/ghellquist", "score": 1 } }, { "sents": [ { "text": "The answer is \"Yes\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both approaches and others may be used to compose music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Creating music comes from Inspiration.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So, if a melody comes and inspires you, follow it, develop it and see where it leads.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Same goes for a single chord or chord progression or a rhythm, sound effect or any sound that inspires you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you've got that then you can apply your theories.", "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/54485/user54485", "score": 1 } } ]

{ "question": "I'm wondering if when composing one would start with an idea for harmony such as a chord progression, or does one start on the melody side maybe developing a melodic motif. What comes first, or maybe there are no rules?", "title": "Harmony or Melody First in Composition?", "forum": "music.stackexchange.com", "question_tags": "<theory><composition>", "link": "music.stackexchange.com/questions/70922", "author": "music.stackexchange.com/users/None/" }

[ [ "Songwriters tend to start with the chords. Composers tend to start with a melody. It's fairly clear that in the world of popular song, approaches that might be characterised as 'Harmony First' and 'Melody First' are both frequently used.", "If a melody interests you, explore it and see where it takes you." ] ]

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[ 7 ]

[ [ "Most songwriters begin with chords, whereas composers start with a melody. If a melody interests you, explore it and see where it takes you.", "There are several \"Harmony First\" and \"Melody First\" approaches used frequently in pop songwriting", "It's rare in popular music to have a complete melody and only then to harmonise it. More often you'll find an acoustic melodic fragment together with some time signatures or chords " ] ]

[ { "sents": [ { "text": "Yes, reeds do need breaking in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's only after breaking a reed in that you can decide if it is up to the job or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally you end up with a number of broken in reeds so you can choose which one is best to use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47576/Jomiddnz", "score": 5 } }, { "sents": [ { "text": "Yes, reeds have a breaking-in period.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0, 0 ] ] }, { "text": "The cells in the bamboo literally swell and and the cell walls burst, making the reed more flexible.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0, 0 ] ] }, { "text": "The length of breaking in time varies, but should not be too long, maybe 4-5 sessions of playing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0, 0 ] ] }, { "text": "If it takes much longer, then the reed strength may be too hard for you or the reed may not be milled well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As was stated above, reeds can also die.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first signals for me are that my sound has become thin and I start to have serious intonation problems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If a reed that seems good \"dies\" too quickly, the reed strength may be too soft.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The trick is finding a reed strength that will last but will also not have an overly lengthy breaking in process that is unbearable.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may need to try different brands of reeds to find the one you like best.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Knowing that reeds require a breaking in process, I make sure to always have at least 2, preferably 3, reeds broken in and \"ready\" for a performance in case one cracks at the last minute.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I mark my reeds 1st/2nd/3rd choice on the back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rotating reeds, practicing on one for a session while another rests, is a good way to help ensure that you are breaking in more than one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also helps the reeds last longer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47856/Heather S.", "score": 2 } }, { "sents": [ { "text": "Experiment with it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may find breaking in is important to ensure a quality, long-lasting reed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, maybe not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For my jazz setup, I can play my reeds right out of the box and achieve the tone I'm looking for with the comfort I desire.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This could be the brand of reeds that I use; it could be my standards for a reed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Who knows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For my classical setup, I have a 2-day process.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Day 1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": Soak the reed in lukewarm water for 60 seconds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play for 120 seconds only notes between G and C. Drain the reed on a piece of glass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Place reed on glass over night.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Day 2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": Play for 240 seconds only notes between low D and mid F. Drain the reed on a piece of glass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Place reed on glass over night.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I don't do this for my classical reeds, the reed is basically unplayable for me", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I have severe discomfort playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe it's the reed, maybe it's me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Who knows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Different reeds and different people need different things.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Experiment with your reeds -- trying breaking in a few using different methods that you find online, try playing a few right out of the box.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also make sure that when you wet the reed in your mouth before playing that you wet the entire reed, not just the tip.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19194/SirPython", "score": 2 } }, { "sents": [ { "text": "The amount of break-in can vary from reed to reed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I recommend a few techniques which both help the break-in process and help keep the reed healthy and long-lived.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First, perhaps most obvious: always clean off and gently rub dry after playing, and store on a flat surface to keep the underside from warping.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Next, I always (used to, as I don't play reeds anymore) burnish the underside by rubbing it over a high-quality sheet of typing paper, the paper itself on some large flat surface.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do this a little bit every session for a week or so.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Burnish the top as well, using light pressure with some smooth, rounded object such as a ballpoint pen housing --", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "tho' I'll grant that this last bit may be my personal religion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My personal favorite, and most successful, reed case consisted of a thick glass plate in a small box, with some soft foam rubber inside the top to apply gentle pressure on the reeds to keep them flat when the case was closed. YMMV", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 1 } }, { "sents": [ { "text": "Reeds do, in fact, need to break in, as other answers have stated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a new player, one thing that you need to keep in mind is that no matter how well you care for them, eventually, reeds will die .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I worked in a band instrument repair store for eight years, and one of the chronic complaints of new reed players was that the reeds inexplicably stop working.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is natural.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just keep an eye out for it (a mouth out for it?), and when you start to notice the quality of your sound decreasing for no other apparent reason, it may be time to buy new reeds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/46541/John Doe", "score": 1 } } ]

{ "question": "I was curious if woodwind reeds need a break in period to meld to the mouthpiece. I am learning saxophone and it seems the longer I use the same reed, it seems to play better.", "title": "Do woodwind reeds (Sax, clarinet, etc) need break in to play better?", "forum": "music.stackexchange.com", "question_tags": "<saxophone><clarinet>", "link": "music.stackexchange.com/questions/71518", "author": "music.stackexchange.com/users/50580/RickMcg" }

[ [ "S0: Yes, reeds have a breaking-in period. The cells in the bamboo literally swell and and the cell walls burst, making the reed more flexible. The length of breaking in time varies, but should not be too long, maybe 4-5 sessions of playing.", "Reeds have a breaking-in period. " ] ]

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[ 7 ]

[ [ "Reeds have a breaking-in period. The bamboo cells expand and rupture, making the reed more pliable.The amount of time required to wear in varies, but should not be too long; possibly four to five times. These should be used for at least five years after they have been brought on to the market. " ] ]

[ { "sents": [ { "text": "I believe that in this case it is an affectation for the purposes of the video, c.f this live performance , where standard modern technique is used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically, I think that some combination of the artist and the director thought that it would look more archaic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are indications that earlier Baroque technique would involve holding the instrument lower .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And of course, the viol de gamba would be played with the instrument in the lap.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Overall, I find this posture most similar to how the nykelharpa is held;", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "which is a significantly different instrument in that mechanical keys are used to stop the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 4 } }, { "sents": [ { "text": "I've seen folk fiddlers hold the instrument like this - on the breast rather than under the chin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I agree, holding THAT low is probably artistic licence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "In Jean Roch Coignet, there is a fiddler playing \"Fanchon\" on violin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's how I first saw this stance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He holds and plays it from the hip.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's near the end of episode 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70075/Ocean Lopez", "score": 2 } }, { "sents": [ { "text": "I can't imagine there is any justifiable advantage to playing fiddle like this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not a fiddle player, but it seems like the left hand might have it's work cut out for itself, having to hold the instrument in a playable position while moving up and down the neck to land on the notes with any kind of precision.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "It reminds me of the old expression, sawing on the fiddle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I expect it would feel very much like trying to play guitar without a strap while standing, definitely not easy to do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 1 } }, { "sents": [ { "text": "It would make singing at the same time easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lower positions (usually it would more be ribs than hip) are sometimes seen in folk styles.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think I've seen it \"in the wild\" in Budapest with a restaurant fiddler.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Stefan Skrzypek 's style, in comparison, is rather idiosyncratic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } } ]

{ "question": "I cannot seem to find a reference to this practice anywhere outside of this video (seen from the beginning (~0:32) of the video) Is there an official term for this type of stance? Are there any advantages or disadvantages to playing like this? Or, does it violate some kind of general violin posture rules?", "title": "Holding a violin against the hips?", "forum": "music.stackexchange.com", "question_tags": "<technique><strings><violin><styles><posture>", "link": "music.stackexchange.com/questions/72035", "author": "music.stackexchange.com/users/51206/ManRow" }

[ [ "I'm not a violin player, but it seems like the left hand might have it's work cut out for itself. Lower positions (usually it would more be ribs than hip) are sometimes seen in folk styles. ", "Lower positions (usually it would more be ribs than hip) are usually seen in folk styles. " ] ]

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[ 7 ]

[ [ "it seems like the left hand might have it's work cut out for itself. Lower positions (usually it would more be ribs than hip) are sometimes seen in folk styles. " ] ]

[ { "sents": [ { "text": "The V alone is a considered a dominant chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The reason for this even without the extra tension of the major 3rd/minor 7th interval is the 3rd of the chord is the leading tone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The leading tone is the bread and butter of tonal harmony so much so that minor harmony makes use of it even not being in the scale \"naturally\".", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you were to use the major 7th instead the tension from the leading tone would still be there, but the resolution definitely wouldn't be as strong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The major 7th of that chord would be the tritone in relation to the root of I. Going down to the 3rd of I is the typical desire of the 7th in a dominant chord, but would be awkward jumping from the tritone by more than 1 semiton.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Going up to the 5th might be more desired, but 7ths in general like to resolve downward so the resolution may not sound as expected.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 12 } }, { "sents": [ { "text": "Although the Ⅴ maj7 can't be as forcing a dominant as Ⅴ 7 , it can still be used as dominant- ish .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Crucial is that the maj7 wants to resolve upwards, not downwards (which brings us to the Ⅴ of Ⅰ ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, the other notes in the chord (save for the fundamental) also want to resolve upwards, so you end up with a very parallel voice-leading situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Common-practice generally frowns upon this, but it's always the question", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "what effect you aim for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And it so happens that this kind of dull, hard-synchronised movement works excellent as a ticking-clock effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such it was used by Gustav Holst in the Planets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The upper voices are mostly just moving around block chords in this parallel motion, but (unlike in the Mars movement)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Holst keeps them in the tonality – the signature of the movement is am, but the passage is clearly in cm: X:1T:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Saturn, the Bringer of Old AgeL:1/4M:CK:Am%%score", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "T BV:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "T clef=trebleV:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B clef=", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "bass%", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1[V:T]", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[_EGc]2 [D^FB]2 |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[_EGc]2 [^FAd]2 | [G_B_e][G_Bd] [", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F_Ac]2 | [^FAd]2 [D^FB]2 | [_EGc]2[V:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B] z", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C, z G,, | z C, z _B,, | z _E, z F, | z D, z G, |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C,2 Notice in particular the cadence", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ⅱ", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- Ⅴ maj7 - Ⅰ at the end.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 5 } }, { "sents": [ { "text": "The chances are that if you're looking at a piece of music where Vmaj7 pops up, it's actually not functioning as dominant harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could be modal, or it could be that there's been a modulation, or it could be that the chord is just being used for color and is not functioning as a dominant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9480/Ben Crowell", "score": 4 } }, { "sents": [ { "text": "The dominant chord, diatonically, is based on the 5th note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So for its triad, it will include the 5,7 and 9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In C, those notes would be G,B and D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The B is the leading note of C, which gives its dominant feel, trying to return to root C. Going to the next note in the chord series, F, produces a tritone (B>F) which unstabilises the sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's dissonant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also has that same one semitone move to get back to the maj3 of C, which is F>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By making the V into a maj7 chord, a non diatonic note (F#) would need to replace the F. F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is diatonic in the present key (C), but F# would be the leading note in key G, which is not the present key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Without the tritone, which begs for resolution, Vmaj7 is weak, so weak it doesn't push.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Therefore it's not dominant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "Also keep in mind that the interval between the 3 and 7 in the dominant 7 chord is a tritone, and it's the instability and tension of this interval that makes it wish to resolve itself by a semitone in each direction.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51475/Jimbo", "score": 2 } } ]

{ "question": "I just read another question about dominant chords and in reading the answers this question came to mind for me. Can a V chord still be considered dominant if the seventh in that chord is not flatted?", "title": "Is the V chord still dominant if it is a major 7 chord?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><harmony>", "link": "music.stackexchange.com/questions/72480", "author": "music.stackexchange.com/users/44636/skinny peacock" }

[ [ "S0: The V alone is a considered a dominant chord. The reason for this even without the extra tension of the major 3rd/minor 7th interval is the 3rd of the chord is the leading tone. The leading tone is the bread and butter of tonal harmony so much so that minor harmony makes use of it even not being in the scale \"naturally\". Also keep in mind that the interval between the 3 and 7 in the dominant 7 chord is a tritone, and it's the instability and tension of this interval that makes it wish to resolve itself by a semitone in each direction. ", "Dominant 7 chord is considered a dominant chord without the extra tension of the major 3rd/minor 7th interval." ] ]

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[ 7 ]

[ [ "Dominant 7 chord is considered a dominant chord without the extra tension of the major 3rd/minor 7th interval. The 3rd of the chord is the leading tone. The instability and tension of this interval makes it wish to resolve itself by a semitone in each direction." ] ]

[ { "sents": [ { "text": "The D chord is acting like the V of the Gm chord, and is followed directly by the Gm chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The F# in the D chord is acting like a leading tone into the G of the Gm, essentially \"tonicizing\" the Gm chord and making it a temporary tonic chord before moving on in the progression.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47856/Heather S.", "score": 8 } }, { "sents": [ { "text": "The D-g-C7-F is just a ii=", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "V7-I ending preceded by the (local) dominant of the ii chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The analysis is often given by V/ii-ii-V7-I.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Or is some books, VI-ii-V7-I.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any major or minor chord may be preceded by its own dominant (or a few other chords) without changing the essence of the progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fundamental bass (D-G-C-F) falls by fifths so sounds good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With a slight change, one could have vi-ii-V7-I which is common from at least the Baroque era to today.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The two progressions have different sound (or color) but are basically the same harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 2 } }, { "sents": [ { "text": "It has been said that the D is acting as a 5 chord to the Gmin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a common device.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D is the relative minor to Fmaj (clearly the key).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tunes will often put a dominant seventh chord on the vi in a progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Case in point, any Bebop Rhythm Changes: Anthropology, Oleo, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cycle extensions work this way by treating a chord in the progression as a temporary I and placing its V7 or a ii-V before it to create resolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In Jazz this is sometimes overdone, filling up measure after measure with 4 chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The effect can be interesting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 2 } }, { "sents": [ { "text": "It's only 'theory', but as Heather states, it's the dominant of Gm (V/ii).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another theory states that chords can be 'borrowed' from parallel keys .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a little convoluted, but key F has Dm as its relative key, which has a parallel key of D major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus it fits!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And cycles of fourths/fifths have been used for centuries.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Usually getting back, eventually, to the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How far away from that root the 'modulation' starts varies, but this sequence is quite short compared with others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Laurence says ( and rightly keeps saying)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "we spend maybe too much time trying to justify everything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe that's just human nature, but in this case, the sequence works, like it does in hundreds of other songs, so by now, it's simply de facto.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "It used to be a very common progression in popular music, a \"circle of fifths\" starting from as far away from the tonic as you like, and working back to it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In F, the longest sequence would be F E A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D G C F. Add 7th's, or change some of the chords to minor, as you like, but the first chord after the tonic is almost always major or a (dominant) 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chord after the F (whether E, A, or D) comes as a (slight) surprise, because of the major 3rd of the chord (and the 5th of the E chord) are not in the scale of F, but the sequence of dominant-tonic resolutions gets it back home safely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can find lots of examples \"before rock\" -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "George Formby used it in many songs, for example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And in classical music, it goes back at least as far as Mozart.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the baroque era, similar progressions using minor chords or minor 7ths, staying within the notes of the key, were very common.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } }, { "sents": [ { "text": "\"It is neither a diatonic chord in F major nor F minor.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And why should it be?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no requirement or virtue in using only diatonic chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm slightly surprised it's plain D,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gm... rather than D7, Gm7...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it's still a standard 'cycle of 5ths' turn-around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Add it to your musical tool-box!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } } ]

{ "question": "I am taking a music theory online course and there is an example I don't understand. The chord progression is: F Bb C F D Gm C7 FMaj7 The first 4 bar is just I-IV-V-I and the last three bar is II-V-I. Question is what brings D here?? It is neither a diatonic chord in F major nor F minor.", "title": "theory - D major in F major chord progression?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-theory><chord-progressions>", "link": "music.stackexchange.com/questions/72577", "author": "music.stackexchange.com/users/51538/ddqq" }

[ [ "The D chord is acting like the V of the Gm chord, and is followed directly by the Gm chord. The F# in the D chord is acting like a leading tone into the G of the Gm, essentially \"tonicizing\" the Gm chord and making it a temporary tonic chord before moving on in the progression.", "The D chord is acting like the V of the Gm chord, " ] ]

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[ 7 ]

[ [ " The D chord is acting like the V of the Gm chord, and is followed directly by the Gm chord." ] ]

[ { "sents": [ { "text": "It can happen when the groupings of note change per measure and don't stress any exact metric pattern.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While not common, it can happen and the most famous example of this is in the 3rd movement of Quartet for the End of Time .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you can see the tempo is defined, but the meter is not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The eighth note gets the tempo markings, but it's not technically the beat because there is none.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Listening to it should give you an idea how it flows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The most interesting thing to me is how the bar line is kept not because of the metric hierarchy, but to show accents in place of it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 6 } }, { "sents": [ { "text": "Indeed, some songs' time signatures cannot be neatly categorized into 3/4, 4/4, 2/4, 9/8, 5/4, etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Songs in free time aren't notated with any time signatures at all.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Satie was pretty fond of writing such pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Songs in mixed meter are notated with time signatures, but they change time signatures as necessary (and sometimes pretty often).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Perhaps covertly the most famous mixed-meter song is \"The 12 Days of Christmas\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other mixed-meter songs that stick out in my mind include Stravinsky's \"The Rite of Spring\" and Dream Theater's \"Ytse Jam\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 3 } }, { "sents": [ { "text": "Would you count music without even tempo?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lots of Penderecki has just minutes and seconds of elapsed time marked off.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no meter or tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And there are lots of vertical dotted lines to show where the different changes in the music line up between instruments.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also the theme to", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Terminator is based on a loop that doesn't really fit in a time signature or meter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 2 } }, { "sents": [ { "text": "One genre where a time signature is completely alien is plainchant:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This even applies where \"chant\" is written out on five lines: English has time-based stresses, so the notes are compressed in some cases (like \"God\" in \"Let God arise\") so that the stresses in the words come as they would be spoken.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The stressed syllable \"rise\" is as long as the three notes on \"God a-\", in order that the next stressed syllable, \"let\" falls at the right time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that would be extremely complex to notate in the normal way, so a different convention is followed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Images: Sanctus from Mass XVIII, my origination;", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Introit for Sunday 17 by Robert Rice in his collection St Michael Antiphons .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2731/Andrew Leach", "score": 2 } }, { "sents": [ { "text": "To add to Andrew Leach's answer, another historical example of music without time signatures is the French prélude non-mesuré for harpsichord or lute, which was in vogue during the mid=to-late 17th, early 18th century.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Composers of such pieces didn't even notate rhythms, leaving those up to the performer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Although of course certain implicit stylistic conventions would have been assumed known to any competent harpsichordist or lutenist.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An example of an unmeasured prelude with sound and notation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24130/Kim Fierens", "score": 1 } } ]

{ "question": "My understanding is that a time signature like 4/4 time is known because certain beats are emphasized, for example: ONE , two, three, four. But let's say someone created a song with tempo alone (ie just used a metronome) and didn't emphasize any beats. Then can a song's time signature be simply unknown and cannot be categorized into 3/4, 4/4, 2/4 etc?", "title": "Are there situations where a time signature is unknown?", "forum": "music.stackexchange.com", "question_tags": "<notation><rhythm><time-signatures><tempo><meter>", "link": "music.stackexchange.com/questions/73269", "author": "music.stackexchange.com/users/None/" }

[ [ "Songs in free time aren't notated with any time signatures at all. Songs in mixed meter are notated with time signatures, but they change time signatures as necessary (and sometimes pretty often). Indeed, some songs' time signatures cannot be neatly categorized into 3/4, 4/4, 2/4, 9/8, 5/4, etc. ", "Songs in free time aren't notated with any time signatures at all." ] ]

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[ 7 ]

[ [ "Songs in free time aren't notated with any time signatures at all. Some songs' time signatures cannot be neatly categorized into 3/4, 4/4 or 2/4." ] ]

[ { "sents": [ { "text": "Your chord actually fits perfectly in G# harmonic minor, but since your question really remembers me when I was learning theory for the first time, I'd like to tell you some facts that may have helped me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is more than major and minor scales:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are tons of scales and there is no best scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually, a scale is just a set of notes, not necesarilly following any rules .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've already told you about harmonic minor scales, but I hardly suggest you to google more of them, and just as a warning message let me tell you that since modes are just translations of the major scale, the harmony structure \"keeps\" the same, so it's not like you are going to find any new chords there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no phenomenon on not be major: the fact that this chord doesn't fit into any major scale is not a phenomenon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Major scale was born as a imitation of the accents that nature adds when a fixed frequency sound sounds (if you are interested in this approach you can read Arnold Schoenberg's book called \"Theory of Harmony\"), but there is no logical reason to think that we are attached to the major scale just because it is more natural than other sets of notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Feel free to use every single combination of notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/52594/Esteban Gutiérrez", "score": 4 } }, { "sents": [ { "text": "In this context, it may just be an intended Eb chord, the player hit the open E string by mistake and thought 'that sounds nice!'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chords don't HAVE to come from one scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A common one that doesn't is the 'Hendrix' chord, a dom7 shape with the minor 3rd on top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Theorists like to call it a #9, your ears will tell you it's a b10.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, when a chord is in general use, and has an accepted name, the jazzers generally WILL have discovered (or invented) a scale that fits it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They like a chord symbol to imply a scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't worry over esoteric 'slash chords' though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They might just indicate a pedal note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C, Db/C, D/C,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb/C etc. is a common trick, and you can leave the bass note out of any 'chord=scale' analysis.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "Without context it's not so easy to identify the chord.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'd think that it's an Eb chord in root postion with an E as a non-chord tone; the type of non-chord tone depends on the context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, it could be an E-diminished chord with Eb as a non-chord tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 1 } }, { "sents": [ { "text": "There is more than just major and minor scales, Look up Dorian, Lydian, PentatonicMixolydian.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They are called \"Modes\" and they vary from the usual Tonic Solfa configuration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep a clear head, remember folk were making music centuries before they decided to put them into categories.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19803/ohdearme", "score": 1 } }, { "sents": [ { "text": "You can alter notes in a chord made from a scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A classic example are the Dom 7-th altered chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider G9 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "{G, B, D, F, A}.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can create a G#9, Gb9, G7(b5#9) etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The #9 is used in blues, jazz, and rock quite a bit and is {G, B, D, F, A#}.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As almost everyone else has stated context helps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the case of the Dom 7th chords the alterations create more \"tension\" and more half steps to neighboring chords in a progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This can be done with any chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes we alter chords and they sound good alone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Mostly these alterations help with movement in a progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The ordering of the chords also helps identify it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Based on you notes you've provided it could be an Eb Maj add b9", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The E is the b9 to the Eb, more strictly the #1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it's enharmonic to b9).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could also be an E dim with a Maj 7th added (but I cannot imagine why).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Again, context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What are the other chords?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 1 } }, { "sents": [ { "text": "Understand that the note after the slash is a bass note, and the bass may have its own thing going on, working toward its own resolution, so that its combination with the notes above it may be incidental.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Especially in modern popular music, a certain set of notes may not necessarily be functioning together as a chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Always look at what's happening before and after the notes in question, where they are coming from and where they are going.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Think of a musical composition as a story, with multiple ideas moving from point to point; any given chord is an incomplete snapshot, so don't read too much into it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10083/ScottM", "score": 0 } } ]

{ "question": "I thought that to create a chord I am supposed to use one scale. And then I saw this chord, called Eb/E that is made of Eb E G Bb notes. They seem not to fit to either major or minor scale (I cannot find a scale that contains all these notes). Could someone explain to me that phenomenon, please?", "title": "Chord that does not fit into any scale", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory>", "link": "music.stackexchange.com/questions/74211", "author": "music.stackexchange.com/users/52459/Ronx" }

[ [ " Especially in modern popular music, a certain set of notes may not necessarily be functioning together as a chord. Always look at what's happening before and after the notes in question, where they are coming from and where they are going. Think of a musical composition as a story, with multiple ideas moving from point to point; any given chord is an incomplete snapshot, so don't read too much into it.", "In modern popular music, a certain set of notes may not necessarily be functioning together as a chord" ] ]

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[ 7 ]

[ [ "In modern popular music, a certain set of notes may not necessarily be functioning together as a chord. Always look at what's happening before and after the notes in question, where they are coming from. Think of a musical composition as a story, with multiple ideas moving from point to point. Any given chord is an incomplete snapshot, so don't read too much into it." ] ]

[ { "sents": [ { "text": "The thing for a lot of players is that they'll learn riffs, by copying what's played (obviously!), but not understand where the notes from the riff come from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may be a riff that uses major pentatonic notes, or minor blues notes, or notes from Mixolydian.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When that's established, the riff should make more sense, and improvising the next few bars at least becomes more straightforward - use the same scale/set of notes to follow!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And, more importantly for good improvisation - don't necessarily play a riff exactly as you learned it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play around with it, play it inside out, backwards, upside down, change the last couple of notes, move the timing, consider different dynamics, etc., etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "My advice would be too practice the songs/progressions you want to improvise slowly, and as a riff pops into your head, play it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The end goal with improv is for the musical ideas that come into your brain to immediately come out of your instrument, so start by slowing the tempo.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Play along at this slow tempo, and when you feel the riff should be inserted, let it fly!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The main thing with improv is not to overthink.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you do the above at a leisurely pace, you'll start to get used to hearing the riff in your head at certain points and it will naturally come out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll make mistakes, but just keep playing!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When your inner ear gives you the cue to start another riff, launch into it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep going, and eventually you'll develop the spontaneity you're looking for as you get used to this \"playing it when you hear it\" mentality.", "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/51985/Kevin H", "score": 2 } }, { "sents": [ { "text": "A key to practicing anything is isolating the problem that you're having and finding a way to counter the problem .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You've isolated that your problem is that you can't seem to work the vocabulary that you're learning into your improv.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So spend some time trying to do that explicitly .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take a riff, lick, pattern, or whatever that you're learning and try playing only that first.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start by playing the riff instead of improvising.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When the chord changes adjust the riff accordingly to fit the changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then slowly start changing a note here", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and there gradually moving on to improvisation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Come back to the original riff occasionally as your theme.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then move on to another lick and do the same thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After that try stringing two or more licks together separated by an equal amount of improv between them (ex. 2 bars riff, 2 bars improv, repeat with next riff).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Work on both expanding the improv in between and adding more licks in the chain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also keep working on varying the licks a little each time you play them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So basically we've built an exercise that does a few things: drills the lick into your head, gives you practice varying a theme, and it gives you practice moving between recalling existing vocab and creating something new.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could change that exercise as you see fit just remember to narrow your focus to the problem that you're trying to solve and tailor the exercise to fit that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, when it comes to vocab, it's important to just play it a lot .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether it's a lick or an arpeggio, the more you drill it into your brain, the more likely", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that musical structure will come to you in the moment when improvising.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43108/user37496", "score": 2 } }, { "sents": [ { "text": "After you've taken a lick and you've learned it in every key so comfortably to the point where you can play it in any random key without thinking about it, then take a head that you're learning and literally just force yourself to play that lick wherever it fits.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep doing that and do just that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then, start playing filling in the other parts with improvisation, but always hit that lick when it comes time to in the progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, sing solos.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you sing, sing the lick you're working on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sing it in the places where it clearly works, sing it in the places where it might not clearly work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Jam the sound of that lick into your ear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Overtime, it'll naturally start coming out in your playing when you aren't thinking about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a long process, but it's important.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19194/SirPython", "score": 1 } }, { "sents": [ { "text": "I include melodic patterns in my practice routine", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I have found them to help me hear complete melody lines including short licks and other embellishments in my head as I'm improvising on the fly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I practiced scales by themselves and that only got me so far, but when I started practicing the melodic patterns, that's when I started hearing the parts I play and knowing what to play next immediately before I play it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It became an all new ball-game for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 1 } } ]

{ "question": "I can learn riffs pretty easily, but I have a hard time remembering to work them into my improv. Do you have any good techniques/tips?", "title": "Practicing including riffs into improv?", "forum": "music.stackexchange.com", "question_tags": "<jazz><improvisation><saxophone>", "link": "music.stackexchange.com/questions/74823", "author": "music.stackexchange.com/users/52973/Ethan Wu" }

[ [ "The end goal with improv is for the musical ideas that come into your brain to immediately come out of your instrument, so start by slowing the tempo. Play along at this slow tempo, and when you feel the riff should be inserted, let it fly! ", "Τhe end goal with improv is for the musical ideas that come into your brain to immediately come out of your instrument." ] ]

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[ 7 ]

[ [ "Practice the songs/progressions you want to improvise slowly, and as a riff pops into your head, play it. The end goal with improv is for the musical ideas that come into your brain to immediately come out of your instrument." ] ]

[ { "sents": [ { "text": "Perhaps this is a non-answer, but I wanted to state that there's very little musical reason, in my opinion, for that rule; it really sounds like a rule that will prevent you from making other errors (like doubling the leading tone, which is the third of a major triad).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Furthermore, I wanted to suggest that you treat this as a very bendable rule that can be broken.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Indeed, when you get to V–VI deceptive cadences in a minor key, you must double the third of the root-position VI chord (!), because it's better than doubling the root (which would be a result of parallel perfect octaves or an augmented second) or the fifth (which would result in parallel perfect fifths).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, there are situations where this rule must be broken, so (in my opinion), don't worry too much about breaking it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 8 } }, { "sents": [ { "text": "One reason why may be to avoid parallel octaves.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The common story I've read is that parallel octaves should be avoided because they make contrapuntal voices sound less independent from each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In practice, due to how rare they are, they also stick out to my ears in polyphonic writing in a rather raw way.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 7 } }, { "sents": [ { "text": "As mentioned in Dekkadeci's answer, doubling the third can lead to using parallel octaves (neither of which sound bad) and it can sound like a voice dropped out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a problem with the dominant chord; the third is note 7 of the scale and it strongly leads to the tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Parallel octaves or fifths can sound \"thin\" in harmonic texture.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another problem is that a major with a double third sounds like a Neapolitan Sixth (in perhaps another key).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a special sound that listeners are used to hearing in particular situations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Neither of these is a risk with minor chord third doubling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Doubling the third of a minor chord (in a major key) doubles the 1, 4, or 5 note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This strengthens the sense of key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I'm not sure this is all that important though.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 7 } }, { "sents": [ { "text": "Although the chorale rules evolved somewhat organically, there may be a physics component to it as well. Consider the harmonic series for the note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C, G, C, E, G, (7),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C.Now, the harmonic series for the note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E: E, B, E, G#, B, (7), E.And the harmonic series for the note", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb, Bb, Eb, G, Bb, (7)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", Eb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a C Major chord, a doubled E would also reinforce a G# against the chord's G -- Eew.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But in a C Minor chord, a doubled Eb would reinforce a G natural -- no problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53167/Tom Williams", "score": 4 } }, { "sents": [ { "text": "In a major chord, the 3rd is probably the most 'active' note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the chord has a dominant function to the one following (as is so often the case in Common Practice harmony)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it will be particularly active, having a leading note function, and as @Dekkadeci says allowing two instances of it to resolve will give parallel octaves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The same reasoning applies to not doubling the 7th in dominant 7th shape chords.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A minor 3rd is less active.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Doubling", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it is as innocuous as doubling the 5th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, as always, use this 'rule' as a warning to listen carefully if you are tempted to double a major 3rd.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "DOES", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it stand out too much?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "DOES", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it cause bad part-leading?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 3 } }, { "sents": [ { "text": "I think it has more to do with what we're used to hearing, culturally.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most of the time, if we have 4 voices but only 3 notes, we'll double the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It sounds more stable and we perceive the chord's function more accurately.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Besides the voice leading perspective (avoiding parallel octaves/5ths)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "we don't mind hearing 'C' in a C Major triad more strongly than the other notes, so the root ends up being doubled for aesthetic reasons (like in a rock 'n' roll band where the bass almost always plays the root of a chord).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suspect cultural exposure has more influence on aesthetics than the overtone series.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53154/Nikki", "score": 2 } }, { "sents": [ { "text": "The minor third has a much easier tone that the Major third, the major third is a much more dominant interval than the minor third.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "it is also worth noting that one of the Major chords in tonal harmony (The Dominant) has the Leading tone note for a third, something which is a big no-no to double.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "In general, the Major chords almost always want it root note doubled, sometimes you are by necessity forced to double the fifth", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "but you only do this when there is a good reason to do so.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7306/Neil Meyer", "score": 1 } }, { "sents": [ { "text": "Dieter da la Motte says in his \"Harmonielehre\" Which tone is doubled in the sixth chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ask ten textbooks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They give ten different answers between the extremes of Bumcke (\"The third should not be doubled\") and Moser (\"so that in the sixth chord all three doubling possibilities become more equal\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is a lot more to say about doubling the 3rd in root position that I will post here later ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } } ]

{ "question": "In a manual for four-part harmony that I am reading, it is suggested to avoid doubling the 3rd of a root position major chord, as it sounds harsh. On a minor root position chord however, it is acceptable. Why is it better to double the 3rd of minor chords and less good in major chords? The overtone series has a tone very close to the major 3rd, so shouldn't doubling the major 3rd actually be preferable to doubling the minor 3rd?", "title": "Doubling the third of a root position major chord in four-part harmony", "forum": "music.stackexchange.com", "question_tags": "<harmony><voice-leading><satb>", "link": "music.stackexchange.com/questions/74990", "author": "music.stackexchange.com/users/53143/Stefanos" }

[ [ "Dominant chords are always major chords (or at least based on them), and doubling the third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leading tone should resolve to the tonic, so you get parallel octaves right there. It is also worth noting that one of the Major chords in tonal harmony (The Dominant) has the Leading tone note for a third, something which is a big no-no to double. In general, the Major chords almost always want its root note doubled, sometimes you are by necessity forced to double the fifth", "Major third is a much more dominant interval than the minor third. " ] ]

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[ 7 ]

[ [ "Dominant chords are always major chords (or at least based on them), and doubling a third of a dominant chord means doubling the leading tone. In common practice period voice leading, the leadingtone should resolve to the tonic, so you get parallel octaves right there.", "Major chords almost always want it root note doubled. Sometimes you are by necessity forced to double the fifth. Major third is a much more dominant interval than the minor third. One of the Major chords in tonal harmony (The Dominant) has the Leading tone note for a third." ] ]

[ { "sents": [ { "text": "C°7 actually includes a B doubleflat .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A major seventh above C is B and a minor seventh above C", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is B♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means that a diminished seventh above C is actually B♭♭, which is enharmonic to A.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But the seventh is not A, because A is just a sixth above C. A is enharmonic to B♭♭, but since we want the seventh above C, it must be B♭♭, not A.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But it gets more interesting:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "since fully diminished sevenths are just stacked minor thirds, they can be spelled four different ways, with each pitch as root; we say that these chords are enharmonic, just like we say that A is enharmonic to B♭♭.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This then means that C–E♭–G♭–A is a diminished seventh chord, but with A as the root: A–C–E♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "–G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If E♭ is the root, we'd rather spell it as D♯–F♯–A–C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If G♭ is the root, we'd spell it as F♯–A–C–E♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These chords all sound the same as C°7, but they are spelled differently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 13 } }, { "sents": [ { "text": "Other answers have pointed out that it's a B♭♭, not an A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To answer the question \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "why not a B♭\":", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chord in question is the chord of the diminished 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As David Bowling and Richard have stated, if the root is C, the diminished 7th is B♭♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chord is also called the \"diminished 7th chord\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This name and its chord symbol Cdim7 are perhaps confusing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know if this is what you thought, but, just for the record, \"Cdim7\" does not", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "mean", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the diminished triad C-E♭-G♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "as indicated by \"Cdim\" the pitch B♭ as indicated by \"7\", just as C7 means a C triad plus B♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's not a [ diminished triad ] with a seventh.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a chord of the [ diminished seventh ].", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/29126/Rosie F", "score": 6 } }, { "sents": [ { "text": "A Cdim7 chord is actually spelled C-Eb-Gb-Bbb, where the interval from C to Bbb is called a diminished seventh.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The interval from C to A is a major sixth, but sometimes you do see people spell Cdim7 as C-Eb-Gb-A for convenience to avoid the double flat, it is just technically incorrect.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This chord is sometimes called a fully-diminished chord, in contrast to a half-diminished chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A half-diminished C chord ( Cmin7b5 , C-7b5 , or C ∅ ) is spelled: C-Eb-Gb-Bb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These are often found in ii-V-i progressions in jazz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39614/ex nihilo", "score": 5 } }, { "sents": [ { "text": "It actually contains a Bbb (double flat).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Often (mis)spelt as A for convenience.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll also often see it notated as C, Eb, F#, A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A dim7 chord is a pile of minor 3rds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A minor 3rd up from Gb is Bbb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "Adding a little to the others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cdim7 cannot contain a Bb note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb only produces a minor 7th from the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To make it a diminished 7th, the space between root and m7 needs to be one semitone smaller.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's the reason it gets called Bbb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It sounds just like A, but since C>A is a M6, that wouldn't be correct if the chord was to be called dim7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } } ]

{ "question": "CM7 - C, E, G, B C7 - C, E, G, Bb Cm7 - C, Eb, G, Bb Caug7 - C, E, G#, Bb But... Cdim7 - C, Eb, Gb, A. Why Does Cdim7 contain an A and not a Bb?", "title": "Why does Cdim7 contain an A instead of a Bb?", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-theory><harmony>", "link": "music.stackexchange.com/questions/75548", "author": "music.stackexchange.com/users/53114/Alex G-I" }

[ [ "Since fully diminished sevenths are just stacked minor thirds, they can be spelled four different ways, with each pitch as root; we say that these chords are enharmonic, just like we say that A is enharmonic to B♭♭. A Cdim7 chord is actually spelled C-Eb-Gb-Bbb, where the interval from C to Bbb is called a diminished seventh. The interval from C to A is a major sixth, but sometimes you do see people spell Cdim7 as C-Eb-Gb-A for convenience to avoid the double flat, it is just technically incorrect.", "Sometimes people Cdim7 as C-Eb-Gb-A for convenience to avoid the double flat, it is just technically incorrect. " ] ]

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[ 7 ]

[ [ "A Cdim7 chord is actually spelled C-Eb-Gb-Bbb, where the interval from C to Bbb is called a diminished seventh. Sometimes people Cdim7 as C-Eb-Gb-A for convenience to avoid the double flat, it is just technically incorrect. " ] ]

[ { "sents": [ { "text": "I taught myself to sight-read music by remembering the whole process of how I learned to read out of books in school.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "I started with simple words that I already knew and understood and worked on recognition of those words on sight and using those words in phrases that made sense.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "After working on it for awhile, I could see the word and hear that word being said in my brain.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "It's much the same experience for me when I learned to sight read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I practice reading until recognition becomes automatic and I can hear the sound of the note in my brain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just like learning songs, the process is slow at first and tests one's patience, but then the pace usually picks up and soon enough reading becomes easier.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After a while you might even be able to know how a song goes without ever actually hearing it anywhere except in your head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I am a pretty good sight reader now", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I still work on it because there are things I don't recognize as easily as others, and I'd like more speed and fluidity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also I combine my sight reading with practicing scales and melodic patterns and it goes a long way towards tying everything together for me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 4 } }, { "sents": [ { "text": "The process is simple, though not easy: Select a piece that's just above your current ability to read easily,one that makes your brain work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Set a metronome to an easy tempo (this isthe crucial step.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A metronome will reveal all kinds of hiddentendencies and paradoxically help you relax since it relieves you ofthe responsibility of staying solid in tempo.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play only the first beat of each measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then the first and thirdbeat of each measure (assuming 4/4 time).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fill in notes as desired.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Forgive yourself for mistakes, just keep moving.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53687/Ron", "score": 3 } }, { "sents": [ { "text": "I think it's actually quite unimportant how you learn sight-reading, what is important is that you do it – practice frequently!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, use whatever music you like to play, which adds incentive for that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you have the basics", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "right", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you should also make sure to get acquainted with unusual key signatures or whatever that may not be found in the music you'd choose to listen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bach is definitely a good source.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/932/leftaroundabout", "score": 2 } }, { "sents": [ { "text": "Play whatever you can play easily – it's ok practice, but this is not the most important thing in sight-reading.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first key to sight-reading is training yourself to ignore your mistakes and keep a steady tempo at all costs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Usually this means lowering the tempo, and gradually raising it over the course of a single piece, and many pieces in the long run.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Secondly – and theoretically – sight-reading is about recognition of common patterns that are found in music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, it is almost impossible to sight-read many contemporary piano pieces because they often use very unusual combinations and progressions of notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Classical music, on the other hand is based on typical patterns - chords, arpeggios, progressions, scales, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A further goal is to learn to recognise patterns of patterns at a glance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is God-mode of sight-reading.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This brings us to the importance of practicing your scales, arpeggios, and chords in all keys – once these can be played with very little effort, you will match them with what you see in your score, and as a result you'll be able to sight-read most music without having to read each individual note.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "The end goal is to be able to read patterns , not each note, in other words – read words and sentences, not letters.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "To sum up: Condition yourself to keep a chosen tempo at all costs, and to look ahead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice your scales, arpeggios, and chords (in all voicings) in all keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Read patterns, and patterns of patterns, not notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9298/whatagainst", "score": 2 } }, { "sents": [ { "text": "The important thing is that you choose music which is technically simple enough to fully comprehend immediately.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This means music that would otherwise be well below your level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bach is quite complex, and is hard for even advanced players to sight read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know where this idea that Bach is simple came from, and it's seriously misleading.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Look into music of the Classical and early Romantic periods, such as Clementi, Haydn, some Mozart, and portions of Beethoven (his sonatas #19 and #20 are very easy, and there are easy movements of most of the rest).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10290/MattPutnam", "score": 1 } }, { "sents": [ { "text": "For what it's worth, I'm pretty sure it's not very easy to teach oneself to sightread.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I use many, many strategies with students, very few of which would work with an individual who was a beginner, alone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many aspects to learning how to sightread, and for me, the most important is - find a teacher!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 0 } } ]

{ "question": "How would I go about teaching myself how to sight read for piano, should I practice out of a sight reading book? Or should I take a piece of music with a lower grade level (such as Bach) and sight read that?", "title": "How should I teach myself sight-reading?", "forum": "music.stackexchange.com", "question_tags": "<piano><sheet-music><sight-reading>", "link": "music.stackexchange.com/questions/75646", "author": "music.stackexchange.com/users/48910/TooCleverFox" }

[ [ "Learning to sight read music is the same as learning to read words and you need to follow the same process to be successful.", "After working on it for awhile, one could see the word and hear that word being said in his brain." ] ]

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[ 7 ]

[ [ "I taught myself to sight-read music by remembering the whole process of how I learned to read out of books in school. I started with simple words that I already knew and understood and worked on recognition of those words on sight. After working on it for awhile, I could see the word and hear that word being said in my brain." ] ]

[ { "sents": [ { "text": "My ad-hoc list of reasons for using a minor dominant in a minor key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Milder, more ambiguous feeling - it doesn’t shout ATTENTION ALL LISTENERS!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "THIS IS A DOMINANT CHORD.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I REPEAT.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "DOMINANT CHORD.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make your music cooler and more suitable for young rebels/snobs/kids who cannot stand proper dominants, because it reminds them of the kind of uncool music old farts like their parents listen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Different jazzing-up possibilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the melody is compatible with it, try a minor 9 or even a IV/V (i.e. D6/E for Am)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to make a harmonic variation or arrangement of a melody that was written for a major key, and use the relative minor key instead, the melody might clash with a major dominant’s third.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So use a minor as a dominant - it’s a dominant all right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bass player’s revenge / application of above: if you’re tired of a happy C - F - G - C song, play a third below and make it Am7 - Dm7 - Em7 - Am7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 2 } }, { "sents": [ { "text": "Yes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i v6 iv6 V where the second chord is the minor dominant in 1st inversion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Harmonizing a descending bass in that way would be very normal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The important point to realize is that the proper dominant V is used at the end of that example phrase to create a half cadence and in that place the raised leading tone is required to make a proper cadence.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If the music isn't forming a cadence then the treatment of the ^6 ^7 scale degrees become flexible in minor key music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That sort of flips your question around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rather than a reason for using the minor dominant, the reason for using the raised leading tone is what matters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't need reasons and rule for using any chord as the music unfolds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, when you get to a phrase ending and form a cadence, you must follow the formula.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least in classical style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the other hand, if you aren't dealing with classical music, then such supposed rules and theories are simply being mis-applied.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 2 } }, { "sents": [ { "text": "Though I'm probably just restating Tim's comment - getting the leading tone in isn't necessarily a good thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a proud tradition of music oriented around the leading tone - a tradition that came about ultimately because people thought it sounded good!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People still do of course, but they also want variety, and often want to get away from that insistent leading tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes this is done by avoiding playing thirds altogether, including when playing a chord on the dominant (by playing 'power chords'), or even by avoiding the dominant (a characteristic of 'grunge' music).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Almost any time you find a guideline in music, You'll find a bunch of people who prefer the sound you get when you don't follow that guideline....", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 1 } }, { "sents": [ { "text": "Even in the most tonal harmonic minor pieces, the leading tone is often avoided unless the melody is specifically moving upward toward the tonic note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That means there is a lot of opportunity for a minor v chord that involves the un-raised 7th scale degree.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Feel free to use the minor v wherever you want unless you want to create a strong cadence.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47856/Heather S.", "score": 1 } }, { "sents": [ { "text": "In Common Practice Period theory, the minor dominant (AKA minor chord on scale step 5) is rather common.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's used when harmony based on step 5 is wanted but without the cadential implications of the V chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note that in a minor key, the V has a stronger cadential tendency as it contains the raised form of step 7 and this note has a strong melodic tendency to move to step 8 (at least in that style.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are two common uses; one is the one already mentioned: a descending bass i-v6-iv6-V or i-v6-iv6-v, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another is in sequences like the minor form of the \"Rule of the Octave\" (AKA the Pachelbel Canon harmony):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I-V6-vi-iii6-IV-I6-V6-I (and many variants).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In minor one gets i-v6-VI-III6-iv-i6 or (I6)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other is in the cycle of fifths, i-iv-VII-III-VI-ii0-v-i -i-iv-VII-III-VI-ii0-V-i.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first time through, the v chord does not have a strong cadential effect (more like a secondary dominant) thus contrasting with the V in the last time through to achieve strong cadential effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 1 } }, { "sents": [ { "text": "I'm sure there are more insightful answers than \"it sounds good\" Not really.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can have a functional V with the leading note included, or a less functional v with the b7 of the key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because it sounds good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Popular music lives in a sort of modified Common Practice harmonic world, where even in a major key the b7 almost counts as diatonic, probably because the Blues is constantly in the background.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } } ]

{ "question": "I've learnt that in a minor key, the non-diatonic major dominant is basically always used instead of the diatonic minor dominant in order to get the leading tone in. Of course this is a trend but not a rule. What could be reasons for using the minor dominant? The question was spurred by Amy McDonald's This is the Life, which goes i-VI-III-v in C#m. (I'm sure there are more insightful answers than \"it sounds good\".)", "title": "What are reasons to use the minor dominant in a minor progression, in particular i-VI-III-v?", "forum": "music.stackexchange.com", "question_tags": "<chord-progressions><functional-harmony>", "link": "music.stackexchange.com/questions/78110", "author": "music.stackexchange.com/users/47563/Anna" }

[ [ "If you want to make a harmonic variation or arrangement of a melody that was written for a major key, and use the relative minor key instead, the melody might clash with a major dominant’s third. The important point to realize is that the proper dominant V is used at the end of that example phrase to create a half cadence and in that place the raised leading tone is required to make a proper cadence. Even in the most tonal harmonic minor pieces, the leading tone is often avoided unless the melody is specifically moving upward toward the tonic note. That means there is a lot of opportunity for a minor v chord that involves the un-raised 7th scale degree. The minor v can be used wherever you want unless you want to create a strong cadence. ", "Feel free to use the minor v wherever you want unless you want a strong cadence, but avoid the un-raised 7th scale degree." ] ]

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[ 7 ]

[ [ "Harmony in the minor key can clash with a major dominant's third in a major key melody. A proper dominant V is used at the end of that example phrase to create a half cadence. Feel free to use the minor v wherever you want unless you want a strong cadence, but avoid the un-raised 7th scale degree." ] ]

[ { "sents": [ { "text": "If this feels like 4/4 time with an extra beat tagged on at the end, then I would count each measure as: 1-ee-and-uh-2-ee-and-uh-3-ee-and-uh-4-ee-and-uh-5` If you want the pattern to count up and don't need to worry about accenting a particular beat, I would recommend this: 1-ee-and-uh-IS-ee-and-uh-SEV-ee-and-uh-EN-ee-and-uh-TEEN`2-ee-and-uh-IS-ee-and-uh-SEV-ee-and-uh-EN-ee-and-uh-TEEN`3-ee-and-uh-IS-ee-and-uh-SEV-ee-and-uh-EN-ee-and-uh-TEEN", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "` Then, internalize the \"ee-and-uh\"s so that you don't have to count them out loud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This leaves you with: 1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ / / IS / / / SEV / / / EN / / /", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "TEEN`2 / / / IS", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ / / SEV / / / EN / / /", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "TEEN`3 / / / IS / / / SEV / / / EN / / / TEEN` If you were to learn this method, it would be easier because you'll only have to count 5 beats, and the rest you will be able to simply feel intuitively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another value of this pattern is that, if you are learning to count/feel lots of different odd meters, then you can easily remember which one is 17/8 versus, e.g., 15/8.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want the 17 beats in groupings of 3 (so that every third beat is a strong beat), then you could use: 1-and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-uh-THIS-and-uh-IS-and-uh-SEV-and-uh-EN-and-uh-TEEN", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-OH2-and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-uh-THIS-and-uh-IS-and-uh-SEV-and-uh-EN-and-uh-TEEN-OH3-and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-uh-THIS-and-uh-IS-and-uh-SEV-and-uh-EN-and-uh-TEEN-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OH", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once you internalize the weak beats (the \"and-uh\"s), you can count it more easily like this: 1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ / THIS / / IS / / SEV / / EN / / TEEN", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OH2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ / THIS / / IS / / SEV / / EN / / TEEN", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OH3 /", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ THIS", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "/ / IS / / SEV / / EN / / TEEN OH", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40842/jdjazz", "score": 4 } }, { "sents": [ { "text": "Take a look at poetry written in a 17-syllable meter, for instance: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17Thís is the | fórest pri | méval, the | múrmuring | píne and the | hémlocks (Introduction to Evangeline: A Tale of Acadie Henry WadsworthLongfellow, 1807 - 1882) Then for a 1,2,3 pattern, craft your 5 Dactyls (triplets) and the final Trochee (duplet).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1 pretty kitty eats meat in the morning along with some salmon.2 pretty kitties", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "eat meat in the morning along with some salmon.3 pretty kitties", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "eat meat in the morning along with some salmon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53914/Richard Barber", "score": 4 } }, { "sents": [ { "text": "What is some-thing sim-il-ar that would fit for three groups of sev-en-teen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 2 } }, { "sents": [ { "text": "Assuming captial 'Da' is the stress.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's duple and 16+1.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, a meter like 17/8 seems to obscure the very regular stress given except for the last group.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems a mix of 2/4 and 5/8 meters makes the clearest break down of beats and stresses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2/4 1 + 2 +", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "| 1 + 2 + | 1 + 2 + | 5/8 1 + 2 + a", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm seeing this as a subdivision of 2 rather than 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So instead of treating 'Da-da-Da-da' as 1 e & a I reduce that to just Da-da twice which counts as 1 + 2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "+ .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you had written something like Da-da-ti-da or otherwise differentiated the 1st and 3rd events, then a subdivision of 4 would have been appropriate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't see how the various mnemonics suggested in other answers are supposed to help.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's put into meters that reflect your stress pattern, it's not overly complicated, and a mnemonic becomes necessary.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Personally, I feel the mnemonic seems to obscure the pattern.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If a mnemonic is really desired, wouldn't it make sense to pick parts of speech to reflect the beat divisions?... up and down andleft and right andin and out andthere and back a-gain ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that a pattern of 4 + 4 + 4 + 5 = 17 eighth notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 2 } }, { "sents": [ { "text": "Sheet music and notes would make the question more clear Using 4 times Da-ba-da-ra with a final Da and counting with the fingers of the left hand instead of 1 234 - 2 234 - 3 234 4 234 5 !)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "and the right hand counts the lines would make it easy to get along : 4 + 4 + 4 + 4 + 1=17 1) Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da 2) Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da 3) Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da -ba-da-ra + Da", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In jazz counting 8th notes goes Da-ba-Da-ba (where the -ba is creating a swing as the da is longer than the ba.)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Thus you might also use this by counting 4 times Da-ba-Da-ba with a final Da !", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "for each line.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "Not sure if I understand where you want to put the accents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it does not matter then I think that I would break down 17 into a nine plus an eight and then further break down the nine to three sets of three and the eight to four sets of two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So my result would be Da da da Da da da Da", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "da da Da da Da da Da da Da da or if counting 1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2 3 |2 2 3 |3 2 3 |1 2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|2 2 |3 2 |4 2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For me this is easier to count in my head or to say out loud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24412/JimM", "score": 1 } }, { "sents": [ { "text": "Using konnakol (you can find many videos on it): || ta ka ta ki", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ṭa", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki ṭa |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ṭa | taam .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "||||", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ṭa", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki ṭa |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki ṭa | tohm .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "||||", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ṭa", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki ṭa |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ta ka ta ki ṭa | dheem .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "|| Quick note: The 't' is dental (close enough to the Spanish/French denti-alveolar 't') and 'ṭ' is retroflex (but can be approximated by alveolar 't' of English).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The period (.) indicates a rest (of unit duration) Here the difference in the three phrases is at the end , but it could easily be moved to the start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12356/M. Vinay", "score": 1 } } ]

{ "question": "I'm trying to learn to count 3 groups of 17. For example, for 2 groups of 11, I came up with: 1-ap-ple-a-day-keeps-the-doc-tor-a-way 2-ap-ple(s)-a-day-keep-the-doc-tor-a-way What's something similar that I can use for 3 groups of 17? Like: 1-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da2-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da3-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da-da-Da Thanks.", "title": "Phrase to help count 3 groups of 17?", "forum": "music.stackexchange.com", "question_tags": "<rhythm>", "link": "music.stackexchange.com/questions/78589", "author": "music.stackexchange.com/users/28028/Eriek" }

[ [ "Sheet music and notes would make the question more clear Using 4 times Da-ba-da-ra with a final Da and counting with the fingers of the left hand instead of 1 234 - 2 234 - 3 234 4 234 5 !). In jazz counting 8th notes goes Da-ba-Da-ba (where the -ba is creating a swing as the da is longer than the ba.)", "For each line, count with the fingers of the left hand instead of 1 234 - 2 234 -  3 234 4 234   4 234   5 !)  Using the right hand counts the lines would make it easy to get along." ] ]

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[ 7 ]

[ [ "Using sheet music and notes would make the question more clear. In jazz counting 8th notes goes Da-ba-Da-ba (where the -ba is creating a swing as the da is longer than the ba.) In jazz you might also use this by counting 4 times with a final Da ! For each line, count with the fingers of the left hand instead of 1 234 - 2 234 -  3 234 4 234   4 234   5 !)  Using the right hand counts the lines would make it easy to get along." ] ]

[ { "sents": [ { "text": "No, secondary dominants aren't required to be seventh chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They can be plain triads (e.g. V/vi).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They also aren't required to be major or have a major triad--I've heard plenty of vii°7/V chords, and those are diminished 7th chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 7 } }, { "sents": [ { "text": "The fact that a secondary dominant, when a major triad, has a M3 in it, which usually moves to the root of the next chord (V) is sufficient.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "With that b7, there's the tritone which convincingly moves things on, but not needed.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "And as @piiperi says, that secondary dominant doesn't even need to be major or minor - diminished chords", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "have the propensity to act as pivotal chords in their own right, and take the music into other modulations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even when the v/V is minor, there's still enough scope for it to work, as it sometimes does when something in a minor key only uses natural minor notes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Not as convincing, but still feasible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's good that we are now moving away from the concept of rigid rules, which don't exist these days!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I nearly said never, but a few centuries ago, adherence was expected!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "A secondary dominant \"tonicizes\" the chord that follows it, temporarily making it sound like a I chord.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So, the secondary dominant needs to lead into that chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A V chord can do this with the third of the chord, which acts as a leading tone into the root of the following chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It does not need the 7th of the chord, but that will increase the pull with the existence of the tritone between the 3rd and 7th of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A diminished vii chord can also be used because it contains the leading tone going into the next chord (the root of the vii chord), in addition to the existing tritone in the diminished chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is basically the upper portion of a V7 chord, without the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A V chord or a diminished vii triad really only point towards one tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if a fully diminished vii7 is used, there are more possibilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are four different tritones in a fully diminished seventh chord, which could point towards four different tonics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, D F Ab Cb could \"tonicize\" Eb, F#, A, or C (and their enharmonic equivalents) depending on how it is interpreted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If more flexibility is desired with a diminished chord, the 7th needs to be used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47856/Heather S.", "score": 2 } }, { "sents": [ { "text": "The answer is: NO while the (V7) is almost always used: in jazz (", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "IIm7 - V7)the proper V is rarely found (as in folk tunes in a choir setting or in church choral settings *)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I just went through some Bach-preludes and didn't find a proper V. They V will appear in a SATB voicing like: Oh du fröhliche Weihnachtszeit", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } }, { "sents": [ { "text": "Most people have stated here that you don't need the seventh to create a secondary dominant sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's true, as listening to D, G, C makes sense and sounds arguably just as good as D7, G7, C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, there's one exception!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "V7/IV must contain the seventh degree.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In A major, one must use A7 to resolve to D, otherwise it's not a secondary dominant at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any other secondary dominant doesn't matter, because without the seventh they aren't diatonic, but V/IV is I7, and I is diatonic and so won't be heard as a secondary dominant unless the minor seventh is added over it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dekkadeci recently made me aware (thank you)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that in minor keys, V/iv would not need the seventh (In A minor, A major to D minor doesn't need the seventh).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37992/user45266", "score": 1 } }, { "sents": [ { "text": "\"Required\" by what?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Are you referring to some cultural convention or a law of nature or what?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ";)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wikipedia's example shows a D major without a seventh: https://en.wikipedia.org/wiki/Secondary_chord", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this example, I think the F# note alone works in some kind of a secondary dominant'ish function, even though it's not even a chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the next line I added more simultaneous notes, leaving less room for imagination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do these sound secondary-dominantish enough to you?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some more: To my ear, the one with the C-F# tritone gives the strongest secondary dominant vibes, followed by the D-F# version.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are at least two ways to think about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What is the implied \"true\" chord there - is it D7, or", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F#dim7?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the Barry Harris way of thinking, the dim7 is the \"real\" dominant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 0 } } ]

{ "question": "I noticed that secondary dominants are usually dominant seventh chords. Can you just make a secondary dominant a triad, or is it \"required\" to make it a seventh chord? (also I think this chord is always major).", "title": "Is a secondary dominant always a seventh chord?", "forum": "music.stackexchange.com", "question_tags": "<chords><harmony>", "link": "music.stackexchange.com/questions/78881", "author": "music.stackexchange.com/users/None/" }

[ [ "S0: The fact that a secondary dominant, when a major triad, has a M3 in it, which usually moves to the root of the next chord (V) is sufficient. Even when the v/V is minor, there's still enough scope for it to work, as it sometimes does when something in a minor key only uses natural minor notes. But, there's one exception! V7/IV must contain the seventh degree.", "Even when the v/V is minor, there's still enough scope for it to work, as it sometimes does in a minor key." ] ]

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[ 7 ]

[ [ "A secondary dominant \"tonicizes\" the chord that follows it, temporarily making it sound like a I chord. V7/IV must contain the seventh degree. Even when the v/V is minor, there's still enough scope for it to work, as it sometimes does in a minor key." ] ]

[ { "sents": [ { "text": "You could ask the same about the A note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All three are just passing notes, passing from one 'good' note to another 'good' note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I call them stepping stone notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They come on unstressed parts of the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The stressed points usually being beats 1 and 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gb>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb perhaps, part of Cm chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All this presumes it's in key C, with the C key sig - no # or b.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 'Gm7' dictates nothing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Except that's the chord appropriate in that bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no 'rules' (as we keep saying!); there's only 'theory'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That concept you (and so many others) adhere to is wrong!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 11 } }, { "sents": [ { "text": "In general, not every note needs to be considered part of the harmony.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can have notes outside of a chord or key be utilized.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Both of these notes are examples of non harmonic tones.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The G&flat; is a chromatic passing tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is sandwiched between the G and F which are both chord tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The E is also most likely another non harmonic tone, what it is exactly depends on what comes next.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could be another chromatic passing tone if the next note is an E&flat;, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/7222/Dom", "score": 6 } }, { "sents": [ { "text": "Although for this particular phrase the easiest explanation is \"they're simply passing notes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" it's worth noting", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic \"color\" that doesn't really get resolved.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/57539/Jarek.D", "score": 6 } }, { "sents": [ { "text": "Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, the natural sixth degree (the E) is the note that gives Dorian its character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this interpretation, the only other note that needs explaining is the Gb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is, of course, just a chromatic passing note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But more can be said.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale , with a Gb written in place of F#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39614/ex nihilo", "score": 3 } }, { "sents": [ { "text": "The technical term is non-chord tones .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "https://en.wikipedia.org/wiki/Nonchord_tone", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In jazz there is a special type of NCT called an enclosure which you should also review.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://www.jazzadvice.com/how-to-effectively-use-enclosure/ The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The two systems shouldn't be considered mutually exclusive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might want to expand this single question to a general review of the whole topic of non-chord tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will deepen your understanding of melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 3 } } ]

{ "question": "Hello! Could someone please give me an explanation about why in the above lick they use G flat (yellow square) instead of G and an E (red circle) instead of E flat, as the Gm dictates? Thank you in advance!", "title": "Notes in a lick that don't fit in the scale associated with the chord", "forum": "music.stackexchange.com", "question_tags": "<theory><chords><chord-theory>", "link": "music.stackexchange.com/questions/80723", "author": "music.stackexchange.com/users/54452/HappyCane" }

[ [ "In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones. ", "Context is important when trying to understand what the chords are doing." ] ]

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[ 7 ]

[ [ "Not every note needs to be considered part of the harmony. Context is important when trying to understand what the chords are doing. In homophonic music a huge amount of melody can be explain as the interplay of chord tones." ] ]

[ { "sents": [ { "text": "As Jomiddnz points out, there's pizzicato.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could also bow one string and pluck another at the same time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But if you want both notes played with the bow, and don't want the bow to catch the strings in between, the only way is by playing on the top and bottom strings with the bow under the strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Here's an example (OK, the only example I've found): the last few bars of Flausino Vale's variations on Franz Lehár's Paganini .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Note also the combination of an arco note and pizzicato open strings.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you don't want to use that extraordinary technique, then, no.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/29126/Rosie F", "score": 23 } }, { "sents": [ { "text": "Just to be pedantic, you could pretty easily bow the open G and A strings together by holding the D string depressed just above the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 11 } }, { "sents": [ { "text": "Just to add to the other answers, there's this unusual technique where you loosen the hair of the bow and play with the stick of the bow under the violin, but the hair wrapping over it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This allows you to play three or four strings simultaneously.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "To play only two non-adjacent strings, I guess you'd need to somehow mute the string(s) in between.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I never played violin", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I don't know how feasible that would be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58399/abl", "score": 8 } }, { "sents": [ { "text": "Absolutely, but it's harder on a modern instrument", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As RedLitYogi says, the convex bridge (not the fingerboard!) affects your ability to play more than two adjacent strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A tight bow means you can only normally hit two notes at once.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Historically this was not the case though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Baroque instruments had a shallower curve to the bridge, and they also used lower tension on the bow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a result, they were perfectly capable of treble-stopping as an advanced technique.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Its still possible with a modern instrument and bow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You need to apply extreme pressure to the bow though, which makes it impossible for anything other than forte or fortissimo.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "More normally, you'd simply pivot over the D string to hit the A in a single move, resulting in an arpeggiated chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's worth noting that even on instruments which can play true chords (e.g guitar or piano), arpeggiated chords are often used for expression, so this does not sound in any way unusual.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "These techniques all assume playing three notes at once, of course.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To avoid playing the \"middle\" string and only sound the outer two, damp the unwanted string by touching it lightly with the fleshy part of a finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23192/Graham", "score": 6 } }, { "sents": [ { "text": "No.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is physically impossible unless you play it pizzicato.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47576/Jomiddnz", "score": 2 } }, { "sents": [ { "text": "You most likely know this, but just in case: the instruments of the string choir (violin, viola, cello, bass violin) all have convex fingerboards.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This makes it much easier to bow a single string than it would be if the strings were all on one plane as they are in guitars and lutes, etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That is why the answer given in 13 seems to be the best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Paganini must really have been", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a show-off - this is akin to Hendrix playing behind his back, etc...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58418/RedLitYogi", "score": 2 } }, { "sents": [ { "text": "If you used two bows you could achieve the result.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It would be rather tricky to hold them both, and only short strokes would be viable without some extremely dexterous right-hand work (or perhaps a bowing action which moves the bow along the strings more than across them - which wouldn't sound great), but would be more versatile than the under-the-strings solution, more musical than the high-pressure solution.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A specialised bowing device (perhaps like a couple of EBows ) might be an option too, depending on how determined you are.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10967/OutstandingBill", "score": 2 } }, { "sents": [ { "text": "I just realized there is a way (and it works quite well", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I tried it) to play double stops on the G and A strings, while still being able to finger them normally: unscrew the the bow completely, pass the frog (carefully!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "down between the E and A strings and under the A, D, and G strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Screw it back on.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Play with the bow lifted, not pressed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will get a lovely double stop of just the G and A strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably of limited practical use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/26744/Scott Wallace", "score": 1 } } ]

{ "question": "Suppose I wanted to play a double stop on the violin. The double stop played the G string and the A string simultaneously. Is this possible? Can you play a double stop on two non-adjacent strings?", "title": "Violin - Can double stops be played when the strings are not next to each other?", "forum": "music.stackexchange.com", "question_tags": "<strings><violin><bowing><double-stops><fingerstyle-violin>", "link": "music.stackexchange.com/questions/81525", "author": "music.stackexchange.com/users/58069/xilpex" }

[ [ "The instruments of the string choir (violin, viola, cello, bass violin) all have convex fingerboards. This makes it much easier to bow a single string than it would be if the strings were all on one plane as they are in guitars and lutes, etc. These notes can be played under the strings or by applying great pressure to the bow. The same effect can be achieved using two bows. It would be rather tricky to hold them both, and only short strokes would be viable without some extremely dexterous right-hand work (or perhaps a bowing action which moves the bow along the strings more than across them - which wouldn't sound great), but would be more versatile than the under-the-strings solution, more musical than the high-pressure solution. ", "It's worth noting that even on instruments which can play true chords, arpeggiated chords are often used for expression, so this does not sound in any way unusual." ] ]

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[ 7 ]

[ [ "String choir instruments all have convex fingerboards, making it easier to bow a single string. You could also bow one string and pluck another at the same time. To play only two non-adjacent strings, I guess you'd need to mute the string(s) in between. You need to apply extreme pressure to the bow though, which makes it impossible for anything other than forte or fortissimo. It's worth noting that even on instruments which can play true chords, arpeggiated chords are often used for expression, so this does not sound in any way unusual." ] ]

[ { "sents": [ { "text": "Bass amps have been used by guitarists for many decades.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In some instances, they work better for guitarists than other amps designed for guitars, especially the speakers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are going to use effects pedals, they will do just fine, but if you're looking for something that will overdrive and distort, bass amps generally aren't designed with that in mind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your bass amp is a valve amp, it'll do the job really well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it is a transistor amp, it'll still work well enough, but you won't really be able to overdrive it as much as you would an amp designed for guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 9 } }, { "sents": [ { "text": "The Fender Bassman has famously been many guitarists' amp of choice over the years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A bass amp still needs to produce all the same higher frequencies as a guitar amp, because it's the higher frequencies which give you the \"attack\" of a note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So there's no problems with the speaker itself.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As LaurencePayne said already, guitar and bass amps are not intended to have clean, flat responses like a PA amplifier and speaker.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Amplifiers are deliberately run into saturation or distortion of various kinds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Speakers are not designed for flat responses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And speaker cabs are pretty much without exception constructed in a shoddy way which would horrify a PA speaker designer, with insufficient bracing all round and no damping or box tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But all this is why a guitar or bass amp has a distinct \"sound\" and a good PA speaker does not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Where you are likely to have issues though might be with the EQ.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A good bass amp will have 5-band EQ, and you can generally make that work.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Others may only have 3-band EQ though, or perhaps even just a \"tone\" control.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On a bass amp, that'll be set up for the kind of frequency range which is most applicable for a bass, and it won't necessarily work so well for a guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If there are other FX on the amp, they may also be tuned more for a bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The obvious solution in that case is to get yourself a pedalboard for the guitar.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This works best if your amp has an FX loop, because then you can make best use of the amp's preamp, but otherwise an FX unit or pedalboard which includes an overdrive on the way in will still work fine.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23192/Graham", "score": 6 } }, { "sents": [ { "text": "Yes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the whole point of a guitar amp is to NOT be 'accurate' but to distort in interesting ways.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This aspect may be missing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 5 } }, { "sents": [ { "text": "The simple answer is of course you can.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You won't break the thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But whether you get a satisfying sound out of it - it really depends of what type of guitar sound you want to use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also depends on what type of bass amp you have.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'd argue that since the Fender Bassman's times when guitar and bass amps design were quite similar we had a substantial evolution and divergence of the two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And while Fender Bassman is definitely a guitar friendly animal, modern amps like Gallien Kruger, SWR or Markbass might be less so.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitar amps are designed for organic multistage distortion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some of the most iconic rock sounds involve compound effect of preamp distorition, power amp clipping, transformer saturation and the way a really thin almost paper like speaker membranes of guitar amps color the sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One practical solution would be to use the bass amp along with some sort of guitar modelling solution to get a variety of decent sounds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/57539/Jarek.D", "score": 4 } }, { "sents": [ { "text": "Technically yes, playing electric guitar through a bass amp can be done, nothing will break, no one will get hurt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess the thrust of the question is more, will I get a satisfying sound playing electric guitar through a bass amp?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a great question, and there are two distinct parts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Firstly, the amplifier itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "TBH (and I'm happy to get slammed for saying this)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the amp itself will sound fine as the amp isn't the most important part of the signal chain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Controversial", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know but check Brian Wampler's vlog on amp Vs cab", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But bass amps are designed to handle a fat load without distortion so the results are possibly a bit too clean for some people.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if you play clean or use pedals for colour then this isn't an issue.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But secondly, and in the context of this question (and the video link above) I think more importantly, is the speaker(s) and cabinet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Speakers are often overlooked when we talk about the characteristics of a guitar rig.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Go look at a shoot out video putting a pair of blues junior combo amps with contrasting speakers to the test.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same amp, different speakers, the result can be night Vs day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is an even bigger consideration in the world of bass when you consider that bass cabs/combos commonly range from 10 to 15inch plus, and guitar speakers tend to be 12inch (not exclusively but very commonly).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if you have a combo with one 15\" speaker (a 1x15, or 115)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you are going to get a vastly different sound than two 10inch speakers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Big speaker will have less high end, smaller speakers will be give less bass rumble but a tighter sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have recently taken to playing my telecaster through an Orange Bass Terror 500w head in to a 2x10 neodymium bass cab and it sounds so good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't really do dirty, but I tend to play clean jazzy or country stuff, and I've got pedals for dirt when needed and they sound great too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I might sell my BJ.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/594/gingerbreadboy", "score": 4 } } ]

{ "question": "I am a bassist and I am looking for an electric guitar, but I don’t want to buy another amplifier. Can I play the guitar through the bass amplifier?", "title": "Can I play a electric guitar through a bass amplifier?", "forum": "music.stackexchange.com", "question_tags": "<guitar><amplifiers><bass-guitar>", "link": "music.stackexchange.com/questions/82463", "author": "music.stackexchange.com/users/58963/Kristin Larocque" }

[ [ "A bass amp still needs to produce all the same higher frequencies as a guitar amp, because it's the higher frequencies which give you the \"attack\" of a note. So there's no problems with the speaker itself. The obvious solution in that case is to get yourself a pedalboard for the guitar. This works best if your amp has an FX loop, because then you can make best use of the amp's preamp, but otherwise an FX unit or pedalboard which includes an overdrive on the way in will still work fine.", "A bass amp still needs to produce the same higher frequencies as a guitar amp. " ] ]

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[ 7 ]

[ [ "A bass amp still needs to produce the same higher frequencies as a guitar amp. The higher frequencies give you the \"attack\" of a note. An FX unit or pedalboard with an overdrive on the way in will still work fine." ] ]

[ { "sents": [ { "text": "Absolutely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nobody ever expects (extreme case)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Itzhak Perlman to stand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Personally, I'd be a happy audience if a flautist sat on a barstool, as many guitarists tend to do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, performing while on a unicycle...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 42 } }, { "sents": [ { "text": "I've never seen a flutist sit, but I've also not seen very many flute soloists.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What I have seen is plenty of soloists that do sit, so you'd be in good company!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And keep in mind that cellists, pianists, harpists, tubists, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "sit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why should you feel out of place for sitting?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do whatever helps you perform the best!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 30 } }, { "sents": [ { "text": "Orchestral flautists sit the whole time", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "so it's clearly possible to play the flute to a high standard while sitting.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's the 21st century and people are used to legislation that requires employers to make reasonable accommodations for people with disabilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This doesn't sound like an employment situation but the same principles and expectations apply.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no reason you shouldn't sit, and every reason that you should.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The audience wants to hear you at your best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/10074/David Richerby", "score": 16 } }, { "sents": [ { "text": "If you were performing in an ensemble of 3 or more people - a flute quartet for example - you would not think twice would you; you would always sit.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So its not really an unusual way to perform.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And even if it were you are still free to do whatever you need to feel comfortable and perform at your best.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So go for it, and good luck with the performance", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24412/JimM", "score": 8 } }, { "sents": [ { "text": "It's always acceptable to be seated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Standing is more conventional for a single soloist, but a group of performers would be seated.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The only advantage of standing would be diaphragm and breath control.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That isn't an insurmountable obstacle whilst playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/59061/Greg", "score": 7 } }, { "sents": [ { "text": "When I was playing (and I'm older than you are), allowances were always made for medical situations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I never saw any of my fellow flutists standing and playing with crutches.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But be careful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One of the reasons to stand includes the fact that it's simply better for breath control—and the flute uses more air than any orchestral instrument except for the tuba.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When seated, as with the rest of the orchestra, you can still fill your lungs completely with good breath control, but you have to take care to sit with good posture that facilitates breathing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sitting on a \"bar chair\" might allow you to breathe easily, but then again it might not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And in compensating for the extra height you might put some other part of your body out of whack or off balance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At which point I'll add that if you think you have problems now, try falling off a high chair in front of an audience!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5712/Robusto", "score": 5 } }, { "sents": [ { "text": "Conventionally, soloists stand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So what?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Do you honestly feel that any objection would be raised to one sitting for medical reasons?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course not!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I guess your post is really about getting reassurance and recognition for your achievement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well done!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it goes well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Good luck!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Will that do?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You're welcome.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } } ]

{ "question": "I am a 60 year old flutist and I am about to perform a humble concert in my community. I have plantar fasciitis in my left foot, and I wonder if it is acceptable for me to sit on a high chair (like bar chair height) instead of stand for my performance? Does any one have any thoughts? Have you ever seen anything like this?", "title": "Can a flute soloist sit?", "forum": "music.stackexchange.com", "question_tags": "<performing><flute>", "link": "music.stackexchange.com/questions/82589", "author": "music.stackexchange.com/users/59051/Kristine Kirby" }

[ [ "Orchestral flautists sit the whole time, so it's clearly possible to play the flute to a high standard while sitting. If you were performing in an ensemble of 3 or more people - a flute quartet for example - you would not think twice would you; you would always sit. Standing is more conventional for a single soloist, but a group of performers would be seated. . One of the reasons to stand includes the fact that it's simply better for breath control—and the flute uses more air than any orchestral instrument except for the tuba. When seated, as with the rest of the orchestra, you can still fill your lungs completely with good breath control, but you have to take care to sit with good posture that facilitates breathing.", "Standing is more conventional for a single soloist, but a group of performers would be seated." ] ]

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[ 7 ]

[ [ "Orchestral flautists sit the whole time. Standing is more conventional for a single soloist, but a group of performers would be seated. The flute uses more air than any orchestral instrument except for the tuba. When seated, as with the rest of the orchestra, you can still fill your lungs completely with good breath control. But you have to take care to sit with good posture that facilitates breathing." ] ]

[ { "sents": [ { "text": "As other answers have pointed out, there are advantages to the player in having notes in pitch order, rather than arranged by consonance; it probably makes things easier for instrument builders too!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, the idea of placing consonant notes together isn't crazy at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact there are other instrument layouts that do something like this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One example is the Stradella system, used on accordions, which uses columns of buttons arranged in a circle of fifths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many 2D isomorphic keyboard layouts are arranged so that consonant notes are adjacent in some directions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Modern electronic instruments can often be configured so that the keys only play the notes of a certain scale.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and of course there are other instruments, such as the guitar, that have completely different layouts;", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "one justification for the standard guitar tuning is that it makes major thirds, fourths, and fifths very easy to reach.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So the idea of placing consonant notes together is fine; it's just that the piano chooses a different set of advantages that you get from doing it a different way!", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 19 } }, { "sents": [ { "text": "Each piano key is one semi tone up(right) or down(left) in pitch from its adjacent keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your example might work if you only ever wanted to play in the key of C major but could you imagine trying to learn to build triads on a keyboard that is laid out in such a way as you suggest?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Currently it is perfectly suited for playing in any key very easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47600/Timinycricket", "score": 7 } }, { "sents": [ { "text": "One reason is for ease of play, as mentioned by the other answers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But on a mechanical keyboard instrument, the keys of various pitch correspond to strings of various lengths, and it is way easier to build the the steel frame if the strings are sorted by length like organ pipes, rather than alternating all over the place.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3083/Kilian Foth", "score": 7 } }, { "sents": [ { "text": "Consonant in which tuning or scale? Consonant in which respect and harmonic function?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That way lies madness or the bandoneon, an instrument having a different layout for left hand (accompaniment) and right hand (melody, at some point of time for a fixed scale but with chromatic notes grown like cancer all around the regular part) and for pushing (original layout for the major scale somewhere in the middle) and pulling (original layout for the dominant of the major scale).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is reputed to be one of the hardest instruments to master, and it still has quite fewer actual notes than a piano in spite of having about double the sound \"locations\" (a location being a physical button but counted twice for pushing and pulling since the notes are different).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And yet its evolution (during which it accreted more and more buttons) started on the premise of creating an instrument simpler to play than a fully chromatic one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 6 } }, { "sents": [ { "text": "It certainly would work - but only in the key suggested - or any other key using that key's harmonic set.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Moving to any other key to play in would be a nightmare.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's bad enough for beginners now, with very few patterns being capable of simple movement to other keys,(without changing black/white key patterns) but with a key specific setting as you suggest, it's almost like going back in time to when harpsichords only sounded good in one key - but that was their tuning, so a different reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, basically, no.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I guess just about every possible idea has been used with reference to where notes are found on pianos (and other instruments), and what we end up with is the best available - even though often that's a compromise.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } } ]

{ "question": "Why is the order of keys/notes on a piano C,C#,D,D#,E,F and so on as opposed to in order of consonance like C,G,E,B and so on?", "title": "Why are notes ordered like they are on a piano?", "forum": "music.stackexchange.com", "question_tags": "<piano>", "link": "music.stackexchange.com/questions/84324", "author": "music.stackexchange.com/users/60432/Seery" }

[ [ "Probably just about every possible idea has been used with reference to where notes are found on pianos (and other instruments), and what we end up with is the best available - even though often that's a compromise. On a mechanical keyboard instrument, the keys of various pitch correspond to strings of various lengths, and it is way easier to build the the steel frame if the strings are sorted by length like organ pipes, rather than alternating all over the place.", "Finally that nearly any relevant definition is to where notes are found on pianos (and other instruments) and what we arrive at is a compromise." ] ]

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[ 7 ]

[ [ "Modern instrument keys can often be configured to only play notes of a certain scale. Other instruments, such as the guitar, have completely different layouts. Standard guitar tuning makes major thirds, fourths, and fifths very easy to reach.", "On a mechanical keyboard instrument, the keys of various pitch correspond to strings of various lengths. It is way easier to build the the steel frame if the strings are sorted by length ", "I assume that nearly any relevant definition is to where notes are found on pianos (and other instruments) and what we arrive at is a compromise." ] ]

[ { "sents": [ { "text": "Theoretically, this could be done by adapting the techniques used in a vocoder .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A vocoder works by measuring the amplitude of different frequency bands in a modulator signal (e.g. vocals), and then using that information to filter a carrier signal (e.g. a synthesizer sound), giving it a similar frequency spectrum as the modulator signal.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you inverted the connections, you could control the low frequencies in the carrier signal with the high frequencies in the modulator signal, and vice versa.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, patching the connections in a non-linear way was a feature of some analog vocoders, like the EMS Vocoder 5000 from 1975 and the Moog 16-Channel Vocoder from 1979.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Moog", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "16-Channel Vocoder (1979) with frequency band switching patch bay (image from vintagesynth.com )", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To achieve completely frequency-mirrored audio, you'd have to use white noise (which contains all frequencies) as the carrier signal, and you would need to have a lot more frequency bands than the dozen or so of a classic vocoder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Software vocoders like Reason's BV512 can have hundreds of bands, but you'd probably need thousands to achieve anything \"realistic\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even then, the result would not be music with mirrored note pitches.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Every sound would have its component harmonics mirrored, and the result would be inharmonic and unrecognizable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Harmonicity of frequency inversion vs. pitch inversion", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While it is true that Frequency Inversion would preserve the distance between the harmonics in a note, the result would only be harmonic if the mirror frequency was itself a harmonic of the note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you mirrored A4 (440Hz) around 2200Hz, you'd get these harmonics:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "HARM FREQ", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finv", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hinv 1 440 3960 9 2 880 3520 8 3 1320 3080 7 4 1760 2640 6 5 2200 2200 5 6 2640 1760 4 7 3080 1320", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3 8 3520 880 2 9 3960", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "440 1 10 4400 0 0", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if you played a C5 (523.25Hz) mirrored around 2200Hz, you'd get these harmonically unrelated frequencies: HARM FREQ", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finv 1 523.25 3876.75 2", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1046.50", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3353.50 3 1569.75 2830.25 4", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2093.00 2307.00", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "5 2616.25 1783.75 6", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3139.50 1260.50 7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3662.75", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "737.25 8 4186.00 214.00 9", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4709.25", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-309.25 10 5232.50", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "-832.50", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the result would only sound harmonic for some notes, much like the way in which the related effect of ring modulation sounds harmonic if there is a simple ratio between the two signals being modulated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40114/Your Uncle Bob", "score": 12 } }, { "sents": [ { "text": "I think what you're asking for is flipping the frequency spectrum of an audio file.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could attempt that by: Converting the audio file into a spectrogram bitmap", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Flipping the spectrogram bitmap file", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Resynthesizing the spectrogram bitmap into an audio file.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You should probably use the linear frequency scale for spectrograms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The results will be very strange - you will inevitably flip not only the notes themselves, but also the harmonic series of all notes, which is not something that can occur in nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can try this process with a free program called ARSS: http://arss.sourceforge.net/download.shtml", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12902/unfa", "score": 7 } }, { "sents": [ { "text": "Yes it can be done digitally, and someone's already done it, and written a blog post about how they did it, and uploaded some examples https://griffonagedotcom.wordpress.com/2017/06/08/turning-audio-upside-down-with-octave-inversion/", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "William Tell Overture sounds absolutely incredible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Posting this as an answer because I think it's better than the other examples given so far and a comment will get buried in the many other comments and lost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21139/Some_Guy", "score": 7 } }, { "sents": [ { "text": "No, there is no single-pass audio process that can invert notes or melodies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Something like Celemony Melodyn Studio could get you started by analyzing all the notes, and then maybe you could embark on a lengthy MIDI inversion process and then try to use the inverted MIDI to re-arrange the audio in Melodyn.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That could take a long time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6070/Todd Wilcox", "score": 5 } }, { "sents": [ { "text": "From a mathematical perspective, it might be doable using Fourier series .(Mono)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "sound is just a mathematical function, basically saying how the speaker should move.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Fourier series tells you how much there are of each frequency.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One could do some type of inverting around say, A, (440hz),and map each frequency 440+F to 440-F, or, as a function, f(F) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "880-F.That is, the coefficient of cos(n x) is mapped to the coefficient of cos((880-n)x).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this makes sense from a musical perspective, I don't know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As people mentioned, one should perhaps consider some log scaling.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/60661/per", "score": 2 } }, { "sents": [ { "text": "It is indeed possible, using some old-school analog techniques.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But probably not practical unless you are very much an electronics type.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The principle sounds a lot like the vocoder described by @Your Uncle Bob, although not nearly as complicated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically the audio is subtracted from a fixed carrier frequency and the difference is what you hear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As pitch goes up, the resulting pitch goes down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One possible flaw is that the chosen carrier frequency can add an offset to the pitch, and if there's an fixed offset added to the pitch,then the intervals won't be correct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then it sounds even stranger, because the harmonics (overtones) won't have the proper intervals, either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also consider that the overtones will be lower , not higher, adding to the strangeness.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That much strangeness probably makes you want to try it!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first time I tried this was using a pair of ham radios (I won't explain that one).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second one was a project from an electronics magazine, effectively four diodes (the modulator) and two or three audio transformers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think this was supposed to be a \"voice scrambler\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have heard things called \"scramblers\" that appeared to do the same thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think in today's world, it will be a lot more practical to use some of the computer-aided techniques cited in the other answers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I had to point out that long ago, good ol' analog had its own bag of tricks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/52658/gbarry", "score": 2 } }, { "sents": [ { "text": "This smacks of negative harmony , and I highly recommend", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you read that post.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's very informative, and one of the processes involved in that discussion is essentially inverting a song about an arbitrary axis, which seems to be what you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, though this is possible, I don't know of any software to do it for you, and generally this is a (rather rare) conceptual device used by musicians and applied to music, not just an algorithm that gets applied to existing sheet music to get a new result.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37992/user45266", "score": 1 } } ]

{ "question": "If I had a recording of some music, I could play it backwards. This is pretty simple. If I had some music recorded, could I flip it around a note like in this image? If possible, how does that work?", "title": "Can you turn a recording upside-down?", "forum": "music.stackexchange.com", "question_tags": "<sound>", "link": "music.stackexchange.com/questions/84654", "author": "music.stackexchange.com/users/60443/Stormblessed" }

[ [ "S0: Theoretically, turning a recording upside down could be done by adapting the techniques used in a vocoder . A vocoder works by measuring the amplitude of different frequency bands in a modulator signal (e.g. vocals), and then using that information to filter a carrier signal (e.g. a synthesizer sound), giving it a similar frequency spectrum as the modulator signal. In reality, it can be done digitally, and someone's already done it, and written a blog post about how they did it, and uploaded some examples https://griffonagedotcom.wordpress.com/2017/06/08/turning-audio-upside-down-with-octave-inversion/. However, though this is possible, I don't know of any software to do it for you, and generally this is a (rather rare) conceptual device used by musicians and applied to music, not just an algorithm that gets applied to existing sheet music to get a new result.", "It can be done by adapting the techniques used in a vocoder and digitally as well." ] ]

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[ 7 ]

[ [ "Theoretically, this could be done by adapting the techniques used in a vocoder . ", "It can be done digitally, and someone's already done it, and written a blog post about how they did it, and uploaded some examples https://griffonagedotcom.wordpress.com/2017/06/08/turning-audio-upside-down-with-octave-inversion/ " ] ]

[ { "sents": [ { "text": "The textbook Music Notation: A Manual of Modern Practice by Gardner Read answers your first question as follows: When slurs are placed over a passage that ends in a tied note, the slur sign should extend as far as the second note of the tie, rather than end of the first note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The principle involved should be obvious; the breath of the singer or wind instrumentalist, the bow of a string player, cannot stop at the first note if it is to be prolonged by a tie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Music Notation: A Manual of Modern Practice, 267", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So this would indicate that figure 1.1 is most appropriate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53216/Peter", "score": 5 } }, { "sents": [ { "text": "Unlike what some of the answers and comments state, there is a reason why one could include a slur within a slur (1.1).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In jazz, it is common to combine \"licks\" into slurred sections.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I play tenor saxophone and frequently encounter passages like that (one example that comes to mind is the Pink Panther theme ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "According to my teacher, it means that the first note within the sub-slur is slightly accented (through staccato-legato tonguing or a slight embouchure change).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1.2 looks wrong to me, but I can see how it could be used as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If I were to see something like that, I would put more emphasis on C compared to 1.1 (in the case of saxophone, I would clearly tongue the note instead of doing staccato-legato tonguing or adjusting the embouchure).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2.1, 2.2 and 2.3 are all valid, depending on the intended message.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 2.1, the first C is sustained and the second is played for 1/4 of the bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 2.2, the first C is played for 1/4 of the bar and the second one is sustained.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In 2.3, both C's are sustained at the discretion of the performer/conductor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/45347/Pyromonk", "score": 2 } }, { "sents": [ { "text": "I'd go generally with 2.2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fermata position is often dictated by what else is going on in the music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If everybody is to come off at the same time after the pause, then put it on the last note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But if there's something that needs to happen before everyone counts the crotchet a tempo", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(eg a bit of recitative, a breath, a bit of shady side-eye) then put it on the first note (as in 2.1).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ms Gould has a good deal to say on fermatas, but sadly declines to tell us where not to put them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/60800/Jamsheed Master", "score": 2 } }, { "sents": [ { "text": "Number 1.1 and 1.2 would mean the same thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least I would play it exactly the same way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Number 1.2 is how it would most often be written.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Number 2.1 would mean you hold a fermata on the 4th beat in the 1st bar and then continue playing the C in the next bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Number 2.2 would mean you hold a fermata on the 1st beat in the second bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Number 2.3 would mean you hold a fermata on the 4th beat in the 1st bar and when continuing the C you hold another fermata on the 1st beat in the second bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So what matters is when do you want the fermata?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/52044/Lars Peter Schultz", "score": 1 } }, { "sents": [ { "text": "I don’t see a difference between examples 1.1.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and 1.2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you say there are only tied notes and no phrase slurs all notes have to be played legato.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other 3 examples mean each something different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can’t say that one of them is wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If this a solo without other musicians and no conductor", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you can’t hear any difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would prefer to notate the pattern 2.2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if there are other instruments or a conductor or this is an accompaniment of an act or a soundtrack of a movie - the fermatas will have all a specific meaning (as notated) note = a tempo, 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "note = hold note = hold, 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "note =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a tempo note and 2. are both hold", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } } ]

{ "question": "I would like to ask two quick things. If you notate a slur (legato, not a phrase slur) on a tied note, will this include the tie (1.1) or not (1.2)? If you notate a fermata on a tied note and want them to hold the note longer than notated, which of the three examples is correct?", "title": "Legato & Fermata notation on tied notes", "forum": "music.stackexchange.com", "question_tags": "<legato><slurs><ties>", "link": "music.stackexchange.com/questions/84833", "author": "music.stackexchange.com/users/53907/Andy" }

[ [ "The fermata position is often dictated by what else is going on in the music. If everybody is to come off at the same time after the pause, then put it on the last note. But if there's something that needs to happen before everyone counts the crotchet a tempo.", "The fermata position is often dictated by what else is going on in the music. " ] ]

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[ 7 ]

[ [ "The fermata position is often dictated by what else is going on in the music. If everybody is to come off at the same time after the pause, then put it on the last note." ] ]

[ { "sents": [ { "text": "Here's another way to view it which might help.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Imagine that the music is being by four instruments or voices which can only play one note at a time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe a string quartet or four singers (SATB).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's imagine a string quartet: violin 1, violin 2, viola, and cello.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each has a part with just one line of your music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Violin 1 has the tune: the top line and plays those short notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Violin 2 and the viola have long notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first for each lasting the whole first two bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The cello plays single beat notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, back to the piano: you need to replicate that effect by yourself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, as Tim says, you need to hold the initial E and B in the right hand for two bars with two fingers while the remaining fingers play the tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sometimes, you can use the right pedal to get the held effect without actually holding down the notes but not in this case as it would mess up the top line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39373/badjohn", "score": 10 } }, { "sents": [ { "text": "It's in 3/4, and those notes on the treble clef with the tails going down are held for each full bar - all three beats (dotted minims).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And because they're also tied to the same notes in the next bar, they get held on for another three beats - six in all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So while you hold those keys down with thumb and index or middle finger, the other fingers of r.h. are playing the tails up notes, the first of which (a very short note duration)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is played at the same time as the dotted minims.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "In general, these notes with the stems facing the other direction indicated that it's a >second voice<", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you have any notation program, just look up how you can change a voice from voice 1 to voice two.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This example above is what you will get.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It basically just means, that you have to see both voices as an independent (melody) line.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes you're able to play the second voice as well", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it's just written like that to make it look easier on paper for you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you would write it in just one voice, you would get way too many unnecessary ties and it would look like this: In this case you would hold down the B and E two full bars with your thumb and index finger, while playing the top line with your other three fingers for example.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes these lines are written for multiple players, like a piano duo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this case Piano 1 would play the top line (Voice one) and Piano two the second one (Voice two).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53907/Andy", "score": 5 } }, { "sents": [ { "text": "As for how to play them, it's much easier (conceptually) than it might seem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ignore the notes with the stems facing up; you know how to play the two bottom notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now ignore the two bottom notes; you know how to play the notes with the stems facing up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now do both at once.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13109/Pete Becker", "score": 1 } }, { "sents": [ { "text": "Hold your finders down on the longer notes and play the shorter notes meanwhile :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61134/Adam Peters", "score": 1 } } ]

{ "question": "I'm learning music theory on my own and thus, I encounter some difficulties in understanding them.This is one of those difficulties.What do those notes (circled in red) mean as each of them has different values? How should I play them on the piano? How are they related with tempo?", "title": "What do different value notes on the same line mean?", "forum": "music.stackexchange.com", "question_tags": "<theory><piano><sheet-music>", "link": "music.stackexchange.com/questions/85240", "author": "music.stackexchange.com/users/52528/Rutrasss" }

[ [ "In general, notes with the stems facing the other direction indicate that it's a second voice. It basically just means, that you have to see both voices as an independent (melody) line. If it was written in just one voice, you would get way too many unnecessary ties. ", "Generally, these notes with the stems facing the other direction indicated that it's a >second voice" ] ]

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[ 7 ]

[ [ "Generally, these notes with the stems facing the other direction indicated that it's a >second voice. It basically just means, that you have to see both voices as an independent (melody) line. If you would write it in just one voice, you would get too many unnecessary ties." ] ]

[ { "sents": [ { "text": "You can and (I hope) will sing wherever your range is comfortable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's where usual baritone or tenors sing, then so be it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What everyone needs to do is find the key for each particular song you want to sing.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The key that suits your voice, for each song.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's not going to be the same key for every song, just because it happens to be D for several!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most people have a two to two and a half octave range, roughly speaking.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some can extend to more, although the quality at each end may suffer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Karen Carpenter, I believe, had a four octave range - so could sing down where you are, but easily into soprano and more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Useful when multi-tracking!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Work with what you have been given, there are at least a million songs out there that will suit your voice, and if you sing in a choir, the lower register of your voice will always be welcome.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "It's not all that unusual.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Timbre is also part of the equation so even though there is some overlap between male and female voice ranges, \"crossovers\" in choirs tend to be rare unless nothing else could possibly work.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In all-male and all-female choirs, the appreciated ranges at the \"wrong end\" tend to be quite more.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice helps accessing registers and ranges that feel less natural and thus can make choir and ensemble work more accessible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For chanson-like solo singing, a low female voice responding well in chest registers will be very much sought after.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So not much to worry about, assuming that your usefully accessible range will, after training, be large enough to be musically useful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "There is an actual name for us: We are typically classed as contra_alto (not the same as alto).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally that means female voices of tenor range but baritone included in this as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We are rare, the lower the rarer and more wanted!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The alto typically ranges from F3 to F5, where tenor ranges from C3 to C5.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A baritone generally stretches from A2 to A4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Strengthen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't forget, you are young and your voice may still drop (girl voices drop as well, just not as drastically).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can sing nearly a whole octave lower than in high school", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but my higher range is less than it used to be since I stopped practicing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want something flirty, there's always Nina Simone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64304/user64304", "score": 3 } }, { "sents": [ { "text": "Certainly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "'Female baritone' is almost the standard voice type for mature Broadway actresses!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make sure you ARE singing, not just crooning along with a recording though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many self-taught singers never actually 'turn the engine on'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "As a contralto i think of myself as a female bass with a baritone tessitura...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e2 to A4, maybe a little higher on a day when my energy level is high and i can really employ power...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "most comfortable in third octave rang.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I take lessons and have learned that with proper technique and the correct key I can adapt most songs to my range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think power or air/energy and staying relaxed and just feeling the song is the way to approach the deep female voice...be confident with it...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it needs practice and its really best", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i think to work with a very good vocal trainer and learn music theory...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you will need it to work within various keys..", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66957/Cheryl Lucas", "score": 1 } }, { "sents": [ { "text": "Yes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is not weird at all and that doesn't make you weird.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The way your voice sounds is determined by many factors but the size and shape of your larynx, neck and throat are the most important factors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I was in college one of the assistant professors was a female bass and sang in an all woman SATB quartet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also sang bass in choir and sometimes she would sing in the bass section with us, lower than the baritones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her regular speaking voice wasn't that low, but definitely lower.", "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/27804/codebeard", "score": 1 } } ]

{ "question": "I know this is probably a weird question but I am just wondering if it is actually possible for other people. I'm currently 15(and a girl) and my comfort zone is around the baritone voice type. Even my speaking voice is deeper than most people, and I've been trying to understand how this is possible in any way.", "title": "Is it possible that women can sing baritone songs?", "forum": "music.stackexchange.com", "question_tags": "<voice>", "link": "music.stackexchange.com/questions/85349", "author": "music.stackexchange.com/users/61119/oky" }

[ [ "What everyone needs to do is find the key for each particular song you want to sing. The key that suits your voice, for each song. Timbre is also part of the equation so even though there is some overlap between male and female voice ranges, \"crossovers\" in choirs tend to be rare unless nothing else could possibly work. ", "You all need to discover the specific note that corresponds to each song that you want to perform." ] ]

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[ 7 ]

[ [ "What everyone needs to do is find the key for each particular song you want to sing." ] ]

[ { "sents": [ { "text": "I used have sore shoulders after playing for an evening at an Italian restaurant in college.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I finally figured out that it was because I was lifting my shoulder up to high while playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the moment, it seems expressive and natural, but turns out that it's much more natural to let your shoulders relax all the way, sit up straight, and make sure the keyboard is in the right place (I'd say an inch or so above the belly button), making nice 90 degree angles in your elbows and no angles in your wrists.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In order to train myself not to raise my shoulders, before starting to play I would intentionally raise them all the way up to my ears, then relax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also used to have tension in my arms, and I would do the same thing: purposely flex them and then let them relax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This helps you get a baseline of what is relaxed and what is tense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then keep reminding yourself throughout playing to relax everything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Before long, I was playing with much better posture and not having to think consciously about it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wasn't an issue to play 3-4 hours (as long as I took a couple of breaks of course!).", "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/56661/DriveItLikeYouStoleIt", "score": 4 } }, { "sents": [ { "text": "Murray McLaughlin is the chairman of the European Piano Teachers Association.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His book on piano technique begins with posture, finger independence, finger strength, flexible wrists and the minimisation of tension in the upper arms, shoulders, neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Step 1 is to start with the correct posture - seat height, distance from piano, wrist alignment and back not bent forward and not too upright.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Step 2 is to work on finger independence which is hard to achieve if you have tension.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "None of this came easy to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The development of good piano technique takes daily practice both on and off the piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He advises working with your piano teacher on this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other techniques I have examined (such as those of Dorothy Taubman) also focus on reducing or eliminating unwanted tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She advises using rotation to help with problem aspects and some sources of tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She started from an observation that child prodigies did not have the finger strength yet were able to play advanced piano pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She then asked why adults should not use the same movements.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her techniques are often used to rehabilitate piano players that have suffered injury even to the point of not playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A qualified Taubman teacher will look at how you play and suggest techniques that eliminate the causes of the pains the student experiences.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both techniques lead to good practice", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I think they can coexist in one person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/39832/Emma", "score": 3 } }, { "sents": [ { "text": "I have to agree with the other posters, we need more information as they've suggested.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can tell you this,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm a keyboard / piano player", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I've been playing for 43 years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My shoulders never come up when I play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are only two reasons I can think of for your shoulders to come up or get sore, and both are related to posture.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I play, I situate myself so that I'm reaching DOWN to the keys, as I'm not very tall, this can sometimes take a bit of doing, but I always play that way", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", it keeps my shoulders in a relaxed position and keeps my wrists relaxed as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a result I can play for hours that way !", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If that helps , great, but if not, please look for a teacher who can correct what the issue is for you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/43240/KoshVorlon", "score": 2 } }, { "sents": [ { "text": "I'd have to see you play but my first guess would be that your seat is too low and in order to instinctively get your elbows or wrist higher you are raising your shoulders?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although, the opposite could be true if you sit too high and you slouch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Either way, that could be the source of your tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sit at a height where your flexor muscles are slightly higher than the white keys and you can comfortably rest up.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Sit on the very edge of your bench, pushing it backward if you have to.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Sitting on the edge will align everything else.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Make sure that you occasionally exaggerate playing from the elbows, or lean in, to keep back muscles from static loading.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Some people would call that emoting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/32953/Malcolm Kogut", "score": 2 } }, { "sents": [ { "text": "My shoulders become stiff and come up when I play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If they're loose and low before you play, then there's hope.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try this: play something simple, but with the intention that keeping them loose is more important than playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Aim most of your attention at your shoulders, very little at the piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When they try to stiffen, immediately loosen them again or -- if that doesn't work -- immediately stop playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That eventually retrains your attention.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I had to do the same with tension in my lower back.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8794/Camille Goudeseune", "score": 1 } } ]

{ "question": "I have a problem with relaxing my shoulders when playing the piano.My shoulders become stiff and come up when I play.After practicing my shoulders ache.What could be wrong with my posture or technique and how can I prevent this from happening?", "title": "Relaxing muscles when playing piano", "forum": "music.stackexchange.com", "question_tags": "<piano><health><posture>", "link": "music.stackexchange.com/questions/85858", "author": "music.stackexchange.com/users/61160/Sheyda" }

[ [ "To relax your shoulders when playing the piano, step 1 is to start with the correct posture - seat height, distance from piano, wrist alignment and back not bent forward and not too upright. Step 2 is to work on finger independence which is hard to achieve if you have tension. Sit at a height where your flexor muscles are slightly higher than the white keys and you can comfortably rest up. Sit on the very edge of your bench, pushing it backward if you have to. Make sure that you occasionally exaggerate playing from the elbows, or lean in, to keep back muscles from static loading. ", "The correct posture is very important." ] ]

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[ 7 ]

[ [ "Step 1 is to start with the correct posture - seat height and distance from piano. Step 2 is to work on finger independence ", "Sit at a height where your flexor muscles are slightly higher than the white keys ", "Sitting on the edge will align everything else. " ] ]

[ { "sents": [ { "text": "I think it depends very much on the genre, style, and period of the music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For some styles, heavy use of rubato is normal and suits the way the music is written, while for others it would spoil the piece.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Think how bad a rock song would sound if the drummer kept varying the tempo!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even within Western classical music, rubato is much more common (and expected) in, say, Romantic pieces than in earlier Baroque.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are always exceptions, of course, but you must be sensitive to the composer's intentions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, there's a recording of Bach's French suites that I find unlistenable due to the inappropriately-high levels of rubato employed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The performance style would probably work well for, say, Beethoven, but to me it just sounds terribly out-of-place and vulgar for Bach.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There have been times over the last couple of centuries when people seemed to think that every piece of music should be played the same way!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thankfully, historically-informed performance has become more popular, and people are at least aware of alternatives.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it partly comes down to understanding the style of the piece, understanding what the composer intended and how people of the time expected it to be played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, it's also down to your judgement and personal taste!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ultimately, if you're performing the piece, you have the final say, and shouldn't be playing anything you're really not happy with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally, you should certainly be able to play a piece well at a steady pace, without any rubato at all , adding expression in other ways.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then you can judge how much (if any) is justified.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56549/gidds", "score": 21 } }, { "sents": [ { "text": "It's not bad per se , but it's dangerous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Making this a habit will impair your ability to play with others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As an expressive device, varying the tempo can be distracting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(That's why it's notated more rarely than varying the dynamics.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The exception that proves the rule here is instruments that can't vary dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When one famous harpsichordist \"held on to a fermata, worlds tottered and the sun stopped until she went on to the next phrase.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/8794/Camille Goudeseune", "score": 16 } }, { "sents": [ { "text": "Depends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some people use 'expressive rubato' as an excuse for bad time-keeping.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular an excuse for playing the tricky bits slower than the easy bits!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Flexible time is probably a bad idea in a rhythmic groove-based song.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's almost required in an operatic aria though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fact that sometimes a metronome isn't appropriate doesn't make metronomes useless!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 13 } }, { "sents": [ { "text": "As Lawrence said, you are describing \"Rubato\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My professor in college recommended playing the piece first at a more \"rigid\" tempo and then using your own discretion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You want rubato to feel tasteful enough so that a professional listening in the audience could dictate the rhythm you played without seeing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general, a solo will have more rubato and adding more instruments will tend to make the tempo more rigid.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That being said, conductors with good vision and execution can train a group to perform rubato together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62853/William Marrin", "score": 11 } }, { "sents": [ { "text": "Some metric flexibility in certain pieces can make them heartstoppingly effective.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best way for you to convince yourself of this is to listen to some recordings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I will suggest two: Brahms Sonata for Cello and Piano in E minor, 2nd Movement.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Contrast the Rostropovich & Serkin recording , which has quite has a quite subtle give and take with the meter, and the Maisky & Gililov recording , which shows greater flexibility.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both are perfectly valid interpretations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Listen to the whole movement of each.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A prelude of a Bach cello suite.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I will let you listen to several different interpretations yourself to identify one with more flexibility and one with less.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19678/aparente001", "score": 4 } }, { "sents": [ { "text": "This is an actually precarious question since wanting to hear a particular answer makes it likely that you are in danger of overusing that answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Timing is a very strong part of how music is interpreted .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To actually work in that manner, every change must be recognizable as deliberate without acting as a distraction or mask.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the way to employ timing variations as an expressive ability is a very, very good control over the precision of timing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is complicated by your sense of timing getting distracted by actual playing , something that the listeners are not exposed to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it usually requires a lot of metronome (or drum computer) work and recording and listening and discipline and good control of the piece (basically, you should be able to play everything 20% faster than at performance speed without falling apart) to effectively employ timing as an expressive device in a tasteful while unambiguous manner.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 1 } }, { "sents": [ { "text": "Changing tempi is part of good performance practice, in my opinion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As noted above, we do it less in earlier than in more recent music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I can't imagine that a player or singer in Bach's day would have resisted imparting a bit of give and take on notes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he or she found particularly engaging.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No one disputes a certain \"allowable\" range of base tempi for a piece, even for early music, and discreet rubato here", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and there is not that different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Where I do have a major problem with rubato is if one or more notes are held so long that the listener might sense metric change where there is none, as, say, if 3 triplet eighth notes were played or sung such that the last of the three was extended to twice its written length, making the whole sound more like a 2 eighths and a quarter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56904/Don", "score": 0 } } ]

{ "question": "When a accelerando and ritardando is not written, is it bad to speed up and slow down where you think it “sounds better?”This seems like against practicing with a steady beat, because it makes a metronome useless.", "title": "Is it good practice to speed up and slow down where not written in a song?", "forum": "music.stackexchange.com", "question_tags": "<tempo>", "link": "music.stackexchange.com/questions/88205", "author": "music.stackexchange.com/users/52607/Marvin" }

[ [ " Using rubato usually requires a lot of metronome (or drum computer) work and recording and listening and discipline and good control of the piece (basically, you should be able to play everything 20% faster than at performance speed without falling apart) to effectively employ timing as an expressive device in a tasteful while unambiguous manner. Moreover, use of the technique depends on the genre, style and period of the music.", "It usually requires a lot of metronome (or drum computer) work and recording and listening and discipline and good control of the piece" ] ]

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[ 7 ]

[ [ "Heavy use of rubato is normal for some styles, but for others it would spoil the piece. Playing timing is an expressive device in a tasteful while unambiguous manner. It usually requires a lot of metronome (or drum computer) work and recording and listening and discipline and good control of the piece" ] ]

[ { "sents": [ { "text": "Without. Point blank.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lights look fun to start with, but a beginner will end up watching them rather than learning to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note, you can usually switch them off, so you don't have to choose a keyboard that doesn't have them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have no recommendations on mobile teaching apps, I've never used them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12556/Tetsujin", "score": 24 } }, { "sents": [ { "text": "Don't bother with lights.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The player will be forever chasing them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, for a few weeks I recommend not trying to read dots either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just get used to the instrument, what it can do, and have fun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would hope that pound for pound, a keyboard without lights would have other, better features.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most will have speakers or a headphone port.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Buying pre-loved will generally get you a far better instrument (my opinion!).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And DON'T write letter names on the keys - or even use stickers!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 15 } }, { "sents": [ { "text": "Its only my opinion, but my observations in the music store are such that they lead me to think the lights on these keyboards serve one purpose, to sell keyboards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've never known any teachers that use them to teach with, and I've never met anyone that actually learned to play music that way, so in my opinion the lights are a sales gimmick but an effective one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether you wish to learn to play by ear, or you are interested in learning to sight read and play that way, I can't think of a way that the lights will help a person become a musician either as a solo player or a band member.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But maybe some one knows an application I haven't thought of myself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 7 } }, { "sents": [ { "text": "Your question contains a crucial misunderstanding in the two words", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "piano keyboard", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The defining feature of a piano keyboard is weighted keys, emulating the hammer mechanism of a real piano.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most teachers recommend learning with weighted keys, because otherwise kids get used to keys which take little-to-no force to press, and this makes it significantly harder for them to move to playing an actual piano.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As far as I can see, none of those keyboards have weighted keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keyboards with weighted keys are a bit more expensive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you need to think more carefully about how far you think your kids will go with playing the keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's just going to be a toy they mess around with, then of course go as cheap as possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if they're going to be playing it more seriously and getting lessons, then get something which is a proper musical instrument to support their learning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All the various gimmicks to plug in or light stuff up are just that - gimmicks. Don't bother.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23192/Graham", "score": 5 } }, { "sents": [ { "text": "Lighed keys are unnecessary and counterproductive.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "For some serious piano learning an 88 key with hammer action is essential.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Entry level digital pianos made by Yamaha, Kawai, Casio, Roland, Korg are available, but you have to double the budget.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A Casio CDP-S100 is the cheapest option at the 360 Euro price and could run on alkaline batteries.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Roland FP10, Yamaha P45 and Korg B1 are all around of the 400 euro level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But for a first run a smaller 61 key keyboard with VELOCITY SENSITIVE KEYS is the minimum baseline.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even with a spring action the speed of the key press will affect the sound volume.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Going for a Casio CTK 3500, or a CT-X700 a Yamaha CPT360 or PSR-E360 could be an idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They have rhythms and nice sounds that could make more interesting the thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another aspect of the lighted keyboard is that doesn't help to get the ear, because instead of associate a sound to a key it associates a light to a key, and anyway music teachers tells that looking at the keyboard", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's not a good idea, one has to train the finger to find the correct distance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually one of my piano teacher made me practice with a cardboard kiding the keys sometimes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So is important to have standard sized keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sight-reading is paramount to learn to play music especially classical, as with solfege, but lighted keys here are steering in another direction.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58496/Michele L'Intenditore", "score": 5 } }, { "sents": [ { "text": "In my opinion, you should not consider buying a keyboard with key lights.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The lights do not help in any way to learn how to play keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would even say they distract from learning because your child will only watch the light patterns and try to \"catch\" the right keys in the right moment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It will not understand the connection between keys and corresponding tones, nor which fingers should be used to play melodies without cramping the hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62735/Spark Fountain", "score": 1 } } ]

{ "question": "For my kid, we want to buy a first piano keyboard. There are nice options under 200 EUR. But now we have a dilemma: do we need helping lights in keys do we need to connect to Tablet (we don't have iPad, but Android)? In range around Yamaha PSR-E363, Casio CTK-3500, or with lights: Yamaha EZ-220 (or some better), Casio L or LK series.", "title": "Would you recommend a keyboard for beginners with or without lights in keys for learning?", "forum": "music.stackexchange.com", "question_tags": "<piano><learning><keyboard><self-learning><beginner>", "link": "music.stackexchange.com/questions/88354", "author": "music.stackexchange.com/users/62953/Vladimir Vukanac" }

[ [ " Lighted keys are unnecessary and counterproductive. Most teachers recommend learning with weighted keys, because otherwise kids get used to keys which take little-to-no force to press, and this makes it significantly harder for them to move to playing an actual piano. ", " Lighted keys are unnecessary and counterproductive." ] ]

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[ 7 ]

[ [ "Teachers recommend learning with weighted keys, otherwise kids get used to keys which take little-to-no force to press. Lighted keys are unnecessary and counterproductive." ] ]

[ { "sents": [ { "text": "Bartok did use some unusual key signatures for such scales.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't know if it's a good or bad idea; much depends on how easy it is to read such a piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would probably just find the major or minor key signature that minimized (or nearly minimized) the number of accidentals and use that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One might still change key signatures if parts of the composition are transposed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People can sight chromatically modified pieces pretty well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Short sections in a dominant key are not always resignatured (if that's not a word, it is now.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Baroque signatures for minor keys are not hard to read and these seem a bit weird at times.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 11 } }, { "sents": [ { "text": "It's 2019; feel free to alter traditional notational norms in a way that's most fitting for your music.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Many composers have used non-traditional key signatures that don't follow the standard order of sharps and flats.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And I've seen key signatures that use all kinds of accidentals, so don't be afraid to mix sharps and flats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here, for instance, is your gypsy scale based on C:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And here's your Hungarian scale:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 6 } }, { "sents": [ { "text": "If there is a clear sense of a root - perhaps the first note in your examples - then it might be easier for someone reading your piece if you use the key signature (whether major or minor) of that note and use accidentals for the other sharpened or flattened notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But your first example could - assuming the first note to be C - be written with the key signature Ab Db, this order being as in a normal major or minor key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Key signatures containing both sharps and flats may look a bit odd but they also exist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your 'Hungarian' scale could thus have the key signature", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eb-Ab-F# or F#-Eb-Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(It wouldn't have Ab-F#-Eb)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By the way, in more complicated modes, for example D, E-quarter-flat, F#, G, A, B-quarter-flat, C#, there is the same problem: to show the quarter-flats in the key signature or just write them as accidentals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[As a footnote I was going to ask where you got the names 'gypsy' and 'Hungarian' from.]", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63087/Old Brixtonian", "score": 5 } }, { "sents": [ { "text": "From a typographer's point of view, I would ask myself what the typical reader expects the most: If it's a book about gypsy music, or a songbook of gypsy songs, or sheets for a gypsy band, I would stick with the non-western scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because here the reader expects to see a gypsy music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it's for someone else, maybe for a conventional band that will accompany you, or for a generic book or songbook or stuff, or a single short piece to be published seperately (maybe on the internet even), I would choose the most fitting western scale and use accidentals as needed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because here seeing a gypsy key would confuse the reader and (maybe even more importantly", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ") even make him play the wrong notes .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note that especially with 2 flats for instance, people could automatically expect them to be Bb and Eb, without even checking the actual location of the flat signs in the staves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bottom line: As always in typography, choose one and stick to it; consistency is important, and here maybe even more important than making the right decision.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2576/yo'", "score": 2 } }, { "sents": [ { "text": "I would use the key signature corresponding to the root of your scale.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Use the minor key signature if your scale has a primarily minor feel and the major key signature if it has a primarily major feel or is ambiguous about its major/minor tonality.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The reason for this is that clearly indicating the tonal center of your piece will make it much easier for readers to interpret it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your piece will have lots of accidentals this way, but those are easier to read than a piece that makes it difficult to discern the function of different notes at a glance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/3265/Kevin", "score": 1 } }, { "sents": [ { "text": "Would you write key signatures for non-conventional scales?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes I would, as it will be easier to me to write and to read it - and probably to others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I wouldn't use the Roman numbering", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "like you did in your question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, the gypsy scale, I-♭II-III-IV-V-♭VI-VII.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e.g. the gypsy scale I would notate as Phrygian with an augmented 7th and with relative names: mifa-sila-tido-rimi", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I think I would even renounce an analyse in RN)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 0 } } ]

{ "question": "For example, the gypsy scale, I-♭II-III-IV-V-♭VI-VII. Would you write a key signature for a scale like that, that didn't start on B♭ like scales are supposed to? Or would you just add the flat every time you play that note? Or would you choose the closest usable key signature and just add a flat/neutral to each note that was different? What if a scale has both flats and sharps, such as Hungarian I-II-♭III-♯IV-V-♭VI-VII?", "title": "Would you write key signatures for non-conventional scales?", "forum": "music.stackexchange.com", "question_tags": "<theory><scales><key-signatures>", "link": "music.stackexchange.com/questions/89956", "author": "music.stackexchange.com/users/50888/コナーゲティ" }

[ [ "Many composers have used non-traditional key signatures that don't follow the standard order of sharps and flats. Use the key signature corresponding to the root of your scale. Use the minor key signature if your scale has a primarily minor feel and the major key signature if it has a primarily major feel or is ambiguous about its major/minor tonality. ", "Use the minor key signature if the scale sounds more like a minor one. See if you can find the root of the scale in the main signature." ] ]

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[ 7 ]

[ [ "Many composers have used non-traditional key signatures that don't follow the standard order of sharps and flats. Use the minor key signature if your scale has a primarily minor feel or is ambiguous about its major/minor tonality. I would use the key signature corresponding to the root of your scale." ] ]

[ { "sents": [ { "text": "That song - and thousands of others, can and still will be in key C, even though there's an F&sharp; note in there somewhere.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suspect it comes just before a G note, and what's happened is that the song's modulated briefly, sort of visiting key G, but not moving permanently into key G. It probably wanders back to all key C notes soon after.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This sort of thing happens a lot, but", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "just becasuse there's a non-diatonic note in there, doesn't mean a change of key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That would be deemed so if the piece stayed with that F&sharp; for many, many bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tink of it this way", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- if you changed the key signature to one sharp, soon, you'd have to keep putting natural signs for the remaining F notes, and that wouldn't be right.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Seeing a sharp sign before any F notes, in key C, tells us 'modulation'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "Sure, that's not a problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As another example, O Canada , when rendered in C major, would have four F♯s in it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "X:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "1T:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "O CanadaM: CL: 1/8", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "K: CmajE4G3G|C6D2|E2F2G2A2|D6z2|E4^F3F|G6A2|B2B2A2A2|G6", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1941/200_success", "score": 5 } }, { "sents": [ { "text": "The examples so far all include a modulation, so that the F# occurs while the chord is G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it's very possible to get an F# even when the chord is still C. For example: ‘ Maria ’ from West Side Story .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second, fifth, and eighth notes in the melody are all F# against a C chord (and several more later on).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The same three notes recur at the start of ‘Cool’, from the same show.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As many others have said on this site: there are no hard-and-fast rules in music, only guidelines* — and if non-scale notes seem right to you, by all means use 'em!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(* It's worth understanding the rules/guidelines and the reasons for them before you break them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But just as the Rule Of Funny (warning: TVTropes) trumps just about everything else when it comes to humour, so the ‘rule of sounding good’ trumps just about everything else in music!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56549/gidds", "score": 3 } }, { "sents": [ { "text": "Depends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here are examples from two very well-known pieces (bonus points for identifing them :-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "one of a &sharp;4 that definitely is just decorative, not a modulation, and one that is a modulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which category does yours fall into?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If in doubt, show us the piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "Like Tim explains and Lawrence shows ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "your song seems to have a momentary modulation (maybe 1-2 bars) to the dominant G (V = 5th degree).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is managed by the D7, dominant (V) of G, called secondary dominant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This chord is built by D,F#,A,C, where F# is the leading tone to G. V7 of V in C : The term secondary dominant refers to a triad or seventh chord built on the dominant, the fifth scale degree, set to resolve to a scale degree other than the tonic, with the dominant of the dominant (written as V/V or V of V)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Wiki", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will find a lot of more information about secondary dominants in this SE-site or here:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://en.wikipedia.org/wiki/Secondary_chord can I still say the song is in C major?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, does it change the key of the whole song?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think the song is changing the key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably not!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It depends of the continuation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F# can also be a chromatic approach to G or a passing tone to F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e.g. you are writing a Blues!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "It's not necessarily (in fact, not likely) what you're seeing in your example, but a piece with a tonal centre of C but frequent occurrences of F♯ could be in a C Lydian Mode.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Lydian mode is the mode based on", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F. So if you played all the white notes on a piano starting on F, you would be playing an F Lydian mode.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More generally, it is equivalent to a major scale with a sharpened 4th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maria, from West Side Story , which is mentioned in another answer, has sometimes been analysed as being in Lydian mode.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61534/Jim Cullen", "score": 2 } }, { "sents": [ { "text": "If you're getting to the F# directly from the C (or playing it over a C bass), then that dissonant interval is called a \"tritone\" (3 whole notes put together).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://en.wikipedia.org/wiki/Tritone", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a very common idiom to use tritones to lead up to the fifth (or sometimes down to the fourth).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As other answers have mentioned, the eponymous melody in \"Maria\" from West Side Story is one canonical example that people use to hear the interval in their mind's ear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, it's possible for an F# to be played in a section of your key-of-C song that's over a G chord, in which case it wouldn't be dissonant (although that still wouldn't change the key of the whole song).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It all depends on how the note is placed in the context of the song.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 0 } } ]

{ "question": "I've composed a melody in C Major but there's this one note, F#, which comes at two places. So, can I still say the song is in C major? Or, does it change the key of the whole song?", "title": "Song in C major has F# note", "forum": "music.stackexchange.com", "question_tags": "<scales>", "link": "music.stackexchange.com/questions/90348", "author": "music.stackexchange.com/users/63543/Indu" }

[ [ "This chord is built by D,F#,A,C, where F# is the leading tone to G. V7 of V in C : The term secondary dominant refers to a triad or seventh chord built on the dominant, the fifth scale degree, set to resolve to a scale degree other than the tonic, with the dominant of the dominant (written as V/V or V of V). However, it's possible for an F# to be played in a section of your key-of-C song that's over a G chord, in which case it wouldn't be dissonant (although that still wouldn't change the key of the whole song). ", "It all depends on how the note is placed in the context of the song." ] ]

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[ 7 ]

[ [ "This chord is built by D,F#,A,C, where F# is the leading tone to G. It's possible for an F# to be played in a section of your key-of-C song that's over a G chord. It all depends on how the note is placed in the context of the song." ] ]

[ { "sents": [ { "text": "I think that it doesn't speak for itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However obvious it might be to some performers that the left hand has the tune, that is only their guess, without the authority from you, the composer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you need some notation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To me, a louder dynamic (for example \" ff \") just means louder generally, and doesn't imply any particular any particular articulations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Accents imply a forceful articulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But then, accents on every note mean that the whole line is just louder.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In your examples, you have staccato chords in the RH, so you can't get your first example's ff loudness by using the sustain pedal, so you must get it by hitting the keys harder, which produces the effect that the accents indicate.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So in this particular case, it might not make a lot of difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Do accents imply non legato?)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I'd prefer ff because your second example makes me check every LH chord to see if it has an accent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/29126/Rosie F", "score": 10 } }, { "sents": [ { "text": "To some extent you don't need to add dynamics to accentuate the melody.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If the melodic line is clear and obvious, the perform should bring it out in some way.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "But to be sure there isn't any confusion add the specific dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think this... https://music.stackexchange.com/a/45138/23919 ...covers the basic idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Put two different dynamic markings on the two separate staves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Regarding accents:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Marking everything accented makes all the notes the same and defeats the purpose of accents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Accents are normally used like this (Prokofiev's Toccata)... ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think especially important in the usage is marking accents that aren't implied by the meter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, Prokofiev does use accenting on nearly every note in some places... ...but that is understood to be a barrage of strongly played notes then the music goes back to dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 10 } }, { "sents": [ { "text": "The two examples aren't going to be played the same anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the top one, there is a tune played by l.h., but that same tune is much more emphasised in the bottom one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Marcato or agogic accents would align the two bass clef parts better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's funny that we never mark that the r.h. has to be played louder than the l.h.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(in most pieces), which I suppose is where the question came from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For simplicity's sake - which is really what writing out music should be about - the top version is clear, although with the appropriate markings, anyone should be able to translate something like the bottom one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "To an experienced musician you do not need to bring attention to the melody as an experienced musician will see this in the sheet music and they can hear the melodic line as well.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For a less experienced musician, noting where the melody travels would be helpful and can be done with a ff notation as you did in your first example.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The use of accents also works, but will sound slightly different due to the technique used to play an accent vs playing ff throughout measures.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All in all, I would leave it alone, the melodic line is clear in this example.", "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/63892/user63892", "score": 5 } }, { "sents": [ { "text": "The second example is poor, because you can't \"play an accent on every note\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only way to hear something is an accent is to compare it with something that is not an accent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any performer with the smallest amount of musical intelligence should realize that \"the left hand is playing the tune\" here, so you don't really need any markings at all, but dynamics marks written below the bottom staff or above the top staff only apply to that single staff, not to both.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63872/guest", "score": 3 } }, { "sents": [ { "text": "I never played piano, but as a lifetime choral singer and a one-time trumpet player, I've seen plenty of music in which the melody (both for the choristers and the instruments) was marked a dynamic louder than the harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Including when the melody was given to the sopranos as usual.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As far as, \"the melody is supposed to be louder\" goes, not a whole dynamic louder.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As well, my interpretation of an accent on every note would be a bit of a sforzando piano, hitting the note hard and pulling back before the next accent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I could see pianist releasing the keys a tiny bit early, allowing the piano to quiet for a fraction of the note to achieve a similar effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I would recommend A as the likely standard, especially if you want a legato fortissimo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63884/user1167758", "score": 2 } }, { "sents": [ { "text": "Any competent musician will know the melody is in the left hand part.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There's no need to tell them by adding accents or a fortissimo.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63891/Edmund Heng", "score": 2 } }, { "sents": [ { "text": "I have recently started writing melodically under the left-hand part in experimental contexts where the melody might not obviously look like a melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally speaking though, including in your case, you should trust the performer to see a melody where there is one; and when there is cause to suspect they might not see the melody, you should seriously consider rewriting it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62097/Peter Smith", "score": 0 } } ]

{ "question": "Sorry if this is a stupid question. In this passage I'm notating, the right hand has accentuating chords and the left hand carries the melody. I wonder whether I need to denote that (and if so, whether method A or B is more proper - I have seen both used); or if it speaks for itself that the left hand has the melody and should be played clearly. It goes on for about twenty bars before both hands should be at the same volume again.", "title": "What is more proper notation in piano sheet music to denote that the left hand should be louder?", "forum": "music.stackexchange.com", "question_tags": "<piano><notation>", "link": "music.stackexchange.com/questions/90917", "author": "music.stackexchange.com/users/60988/KeizerHarm" }

[ [ "To an experienced musician you do not need to bring attention to the melody as an experienced musician will see this in the sheet music and they can hear the melodic line as well. For a less experienced musician, noting where the melody travels would be helpful and can be done with a ff notation. Any performer with the smallest amount of musical intelligence should realize that \"the left hand is playing the tune\" here, so you don't really need any markings at all, but dynamics marks written below the bottom staff or above the top staff only apply to that single staff, not to both. There's no need to tell them by adding accents or a fortissimo. ", "To some extent you don't need to add dynamics to accentuate the melody. " ] ]

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[ 7 ]

[ [ "To some extent you don't need to add dynamics to accentuate the melody. If the melodic line is clear and obvious, the perform should bring it out in some way. Any competent musician will know the melody is in the left hand part. Any performer with the smallest amount of musical intelligence should realize that \"the left hand is playing the tune\" here." ] ]

[ { "sents": [ { "text": "I'd like to add to some of the good answers here, this reddit one sums it up well for me", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pitch is the human perception of frequency.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Key is the familiar system of scales and chords with a tonic. reference", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/57380/Peter Askins", "score": 4 } }, { "sents": [ { "text": "A piece or excerpt can be atonal--i.e.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it can be in no key whatsoever--and still have its pitch changed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can change the pitch of a 12-tone serialist piece up 3 semitones and its pitch will differ, but it still won't be in any key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The key of a piece encompasses what its tonic is and whether it favours the flattened or natural/sharpened third, among other things.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Changing the pitch of all of a piece's notes by the same number of semitones will change its key...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "if it has any.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 4 } }, { "sents": [ { "text": "Pitch and key are similar in the sense that changing the key of a piece means changing the pitch by multiples of a semitone.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Of course it's possible to change the pitch by any amount, not necessarily multiples of a semitone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40545/PiedPiper", "score": 3 } }, { "sents": [ { "text": "Pitch is simply a measurement of frequency, it's a quantification of sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Key is a musical concept describing the collection of pitches that form a framework for melody and harmony and tension/resolution, which may be based around any root pitch.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When referring to single musical notes, the pitch may be a pure waveform of that frequency if it's coming from a synth, or if it's an analog instrument", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's the single most dominant frequency from the sound (ignoring the other harmonics and overtones from the timbre of the instrument).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But when you're editing an audio clip and \"pitching up\" or \"pitching down,\" you are modulating or transposing the key of the song by changing the pitch of every note by the same value.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } }, { "sents": [ { "text": "Changing the pitch in audacity will probably mean to transform (transpose) a wave-file by \"adding\" + or - the pitch values up(+) or down(-).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When changing the key in a notation program you have 2 options, you may transpose the notes up or down like the movable do: The tune will be unchanged, but the pitch will be changed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When changing the signature you may have the option: a) to keep the notes where they are: the result will be a different mode:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "e.g. C -> the notes keep the original position, but", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E => Eb and B =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb, and the song will be in Bb-Dorian.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pitch of the tune will be unchanged, only the altered tones referring to the new key signature will be changed, and this means: The tune will be changed! b) to transpose the notes up or down with the key signature, (then you still have the option of diatonic or harmonic transposition like playing the same printed notes with a transposing instrument).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This latter case 3b):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "harmonic transposition by changing the signature is identical with changing the key, that means to change the key with transposing the notes is a short cut).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it looks like pitch change and key change are the same.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In any case you have to decide the direction (up or down) of the changed result.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } } ]

{ "question": "Say I have a song that I recorded in C major to a wav file. And then I open that file with Audacity (or some other audio program) and I increase the pitch. And as a result now the song is in E major. Then aren't pitch and key similar?", "title": "Difference between pitch and key?", "forum": "music.stackexchange.com", "question_tags": "<theory><key><pitch>", "link": "music.stackexchange.com/questions/90968", "author": "music.stackexchange.com/users/None/" }

[ [ " Pitch and key are similar in the sense that changing the key of a piece means changing the pitch by multiples of a semitone. Key is a musical concept describing the collection of pitches that form a framework for melody and harmony and tension/resolution, which may be based around any root pitch. The key of a piece encompasses what its tonic is and whether it favours the flattened or natural/sharpened third, among other things.", "Key is a musical concept describing the collection of pitches that form a framework for melody and harmony." ] ]

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[ 7 ]

[ [ "Pitch and key are similar in the sense that changing the key of a piece means changing the pitch by multiples of a semitone. Key is a musical concept describing the collection of pitches that form a framework for melody and harmony." ] ]

[ { "sents": [ { "text": "Polyrhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's good thing to learn to do.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4 against 3 is nice, before that you should normally try 3 against 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally it's hard to do at the start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I had to break it down, splitting the beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For 3 against 2 you need to split the pattern into 6, for 4 against 3 into 12.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I made two grids to show how: It takes a bit of practice but it is very good for your time feel as a musician to learn to tap these.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally you use two hands, one doing each line, or a hand and a foot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It helps if you use two \"instruments\" (whatever comes to hand) that have quite different tones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(And soon you'll have people around you saying \"will you stop that tapping\" ...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62227/danmcb", "score": 35 } }, { "sents": [ { "text": "There is a common mnemonic for learning the 3:4 poly-rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Apologies for the minor profanity, but it goes like so: Get two people, call them \"3\" and \"4\" and give them the following instructions: 3", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": You're watching a baseball game and your team is in the field, and you're hoping the outfielder can throw the ball to the first-baseman, so you repeat the following phrase over and over: \"Pass! God!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Catch!\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "4: Someone has offered to sell you the Hoover Dam, but you think he's probably a scam artist, so what do you do?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Pass the dam up\" - repeat this phrase over and over again, try to take the same amount of time as the other person.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both phrases include the word \"Pass\", so they should say that at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you get the timing right, you'll get the following somewhat impolite request at the dinner table:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Pass the goddamn ketchup\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The natural way of saying of that phrase is basically a perfect 3:4 poly-rhythm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/24200/Darrel Hoffman", "score": 19 } }, { "sents": [ { "text": "Overlaying two different evenly-spaced subdivisions with no immediate common factor, is called polyrhythm: https://en.wikipedia.org/wiki/Polyrhythm Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When starting out for the most common polyrhythms involving 2/3/4, if you subdivide down to eighth notes or triplet eighths as the common factor you can find where each larger beat will land.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can conceptualize 3-over-4 as a case of 3-over-2 with the 2's subdivided once more (which only requires a divisor of 6-per-bar to map them together), and this older question addresses the 3-over-4 case specifically with notation: How to count polyrhythm 3 against 4 in common time?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(When you get into wackier polyrhythms involving 5s and 7s over base-2's, this mathematical fractions method becomes useless and you start going by feel and true limb independence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that takes a while of practice internalizing how the basic 3-vs-2 polyrhythms feel, and playing stuff in odd meters with 5's or 7's instead of just 3/4 and 4/4)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 13 } }, { "sents": [ { "text": "The late drum teacher Charles Dowd called this the Rhythm of Life .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[I assumed this was in reference to a song utilizing this rhythm.]", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He taught it in the context of an Afro-Cuban-style pattern on drum set: The two top-line patterns are equivalent, but it is the bass drum (lower line) that names the underlying pulse.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one instead plays the 2nd pattern with dotted eighth notes on the bass drum, it becomes the 1st pattern, but now thought of in 3/4 time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The perceived change between time signatures comes from changing from 3 to 4 on the bass drum.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Eventually, this is most rewarding when one plays, say, the 2nd pattern with hi-hat on quarters and changes bass drum to dotted eighths.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[This makes the 4 over 3 happen between both feet.]", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then continue to play the top-line pattern on bell of cymbal and finally include a clave-style rhythm with left hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53580/user138719", "score": 5 } }, { "sents": [ { "text": "Splitting up a 4 against 3 pattern into 12 equal parts doesn't really work except at a very slow tempo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You just need to get train your brain (and hands) to do different things at the same time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A good way to learn to do this is set a metronome to a slow tempo corresponding to one \"beat\" per bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start by tapping with each hand separately for several bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then alternate one bar with each hand, and finally put both hands together.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Three against two or three against four is fairly simple.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's a snippet of organ music where you have 3 against 2 both with your left hand, simultaneously with 5 in your right hand, and 4, 6, 5 and 7 with your feet, on successive beats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Trying to count out \"7 against 5 against 3\" by splitting up to beat into 105 tiny parts isn't a practical idea!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Drummers ought to be able to keep four different rhythms going at the same time - one with each hand and one with each foot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64076/guest", "score": 2 } }, { "sents": [ { "text": "A small contribution to your \"What is it called?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" question:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have heard this type of rhythm described as the \"dog-gone\" rhythm in a lesson from Bob Brozman, the guitar player, here: http://www.bobbrozman.com/tip_rhythm.html", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64111/Gary Rendle", "score": 1 } } ]

{ "question": "I'm new to the \"music scene\". Well, at least the more technical parts of it. In ninth grade, our music teacher taught us how to do a tapping/drumming thing where we tap 3 times on one leg and 4 times on the other in 4 beats. What is this called? How to do it?", "title": "Tapping 3 times on one leg and 4 times on another leg in 4 beats. What is it called and how to do it?", "forum": "music.stackexchange.com", "question_tags": "<theory><polyrhythm>", "link": "music.stackexchange.com/questions/91260", "author": "music.stackexchange.com/users/64072/Karlee" }

[ [ "Overlaying two different evenly-spaced subdivisions with no immediate common factor, is called polyrhythm: https://en.wikipedia.org/wiki/Polyrhythm Polyrhythm is the simultaneous use of two or more rhythms that are not readily perceived as deriving from one another, or as simple manifestations of the same meter. When starting out for the most common polyrhythms involving 2/3/4, if you subdivide down to eighth notes or triplet eighths as the common factor you can find where each larger beat will land. ", "Overlaying two different evenly-spaced subdivisions with no immediate common factor, is called polyrhythm" ] ]

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[ 7 ]

[ [ "Overlaying two different evenly-spaced subdivisions with no immediate common factor, is called polyrhythm: https://en.wikipedia.org/wiki/Polyrhythm " ] ]

[ { "sents": [ { "text": "The 'add' modifier is used if a note above the 7th is added to a triad, and if the lower tensions are not part of the chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That's why there's a difference between a C9 and a C(add9) chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The first has a (flat) 7th, the other one doesn't: C9 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C E G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb D C(add9) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C E G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another usage is to add notes that would otherwise replace another note, as is the case with an added 4th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a sus4 chord, the 4 replaces the third, but in an add4 chord both the third and the fourth are present.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note that when higher tensions are added on top of the 7th, then \"add\" is not used, even if some of the lower tensions are not present.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E.g., a C13 chord must have a b7 and a 13, but it could be played without the 9, and it would still be perceived as (and called) a C13, and definitely not C(add 13).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 27 } }, { "sents": [ { "text": "The difference between C9 and C add9 is that the latter chord doesn't contain the 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 6 } }, { "sents": [ { "text": "True, most chords are clear in their make-up from the name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, sometimes, there needs to be an extra note added and it's more clear to write that at the end of a chord's name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Csus2, for example, needs C D G, as the sus knocks out the 3rd of the chord, E.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But what about if we wanted to have a D note as well?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C E G and D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's where the ' add' part comes in handy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can either call it Cadd2, or more commonly, Cadd9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cadd9 sounds better as the D is not played next to the C and E anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suppose C6 could be called Cadd6, except generally speaking, any add notes are above the octave, so there's no need.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any chord that contains a number higher than 7 will need that 7 in it anyway, so Cmaj9 will be C E G B D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only way to name that chord, but not have the 7th (B) played, would be to call it Cadd9.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "“Add” is used in chord symbols in certain cases where the usual assumptions don’t apply.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Strictly speaking, a chord with an extension (9, 11, or 13) contains the triad indicated by the note letter (root, third, and fifth), the seventh, the interval of the extension, and all lower extensions .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(See here for the complete picture.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A ninth chord has no lower extensions, so a Cm9 is C E♭ G B♭ D .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The seventh (B♭) and the ninth (D) are both important to the quality of this chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But a composer might not want the B♭ to be played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How is this solved?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The symbol becomes Cm(add9).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same applies to higher extensions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Strictly speaking, a Cm13 chord is C E♭ G B♭ D F A , though it’s rarely played that way in practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Musicians may choose to eliminate the fifth (G), the ninth (D), and/or the eleventh (F).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That leaves the most important qualities of the chord in place; the root, the minor third, the seventh, and the thirteenth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Again, if a composer wanted an A in the chord without a B♭, the chord could be written as C6 or C(add13).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By convention, a six chord is a triad plus a major sixth interval, so “add” would be redundant, but “add” is necessary in C(add13) to indicate that no B♭ is played.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(The “add13” suggests a voicing where the A is an octave higher than 6, thus C6 is a far more common chord symbol.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "“Add” is also used for minor and major seconds, and perfect and augmented fourths when these aren’t meant to be suspensions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, Cadd4 is C E F G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "whereas C F G is Csus4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Confusingly, some publishers and composers use C4 to mean Cadd4 while other use it for Csus4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously, it’s better to be explicit when you can.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When chord symbols get too complicated, they lose their utility.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They’re meant to make things easier, not more complicated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In cases where specific voicings are desired, it’s better to write in standard notation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/13469/trw", "score": 3 } }, { "sents": [ { "text": "First, C9 denotes traditionally a dominant chord: that's C7 with the major 9th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This must resolve somewhere (most standardly to F).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now Cadd9 is a C major triad with the major 9th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a major chord which functions as a tonic .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can pretty much always substitute Cadd9 for CMaj9, which is CMaj7 with the major 9th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The former is more \"pop\", the latter more \"jazz\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Likewise, Cm9 is Cm7 with the major 9th, and those two chords are roughly interchangeable (and also with Cm11 in a jazz context) and function as II chords in a II/V movement (Cm7/F7).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12199/Alexandre C.", "score": 1 } } ]

{ "question": "The name implies that you are adding a note, but we already notate that explicitly in the chord name and quality. We say Cm7, not Cm add 7. If we want a 9th, we can go Cm9, but is Cm add 9 correct too? Is there a difference? So, what exactly is an add chord? When is the notation used?", "title": "What's an \"add\" chord?", "forum": "music.stackexchange.com", "question_tags": "<theory><notation><harmony><chord-theory><chord-voicings>", "link": "music.stackexchange.com/questions/91623", "author": "music.stackexchange.com/users/7218/Von Huffman" }

[ [ "e 'add' modifier is used if a note above the 7th is added to a triad, and if the lower tensions are not part of the chord. That's why there's a difference between a C9 and a C(add9) chord. Strictly speaking, a chord with an extension (9, 11, or 13) contains the triad indicated by the note letter (root, third, and fifth), the seventh, the interval of the extension, and all lower extensions .", "A chord with an extension includes the triad indicated by the note letter, the seventh, the interval of the extension, and all lower extensions ." ] ]

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[ 7 ]

[ [ "A chord with an extension (9, 11, or 13) contains the triad indicated by the note letter (root, third, and fifth), the seventh, the interval of the extension, and all lower extensions ." ] ]

[ { "sents": [ { "text": "Can the bass clef be transformed to the treble clef in piano music?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but please don't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems like it would be much easier to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will be making Middle C be a line in one staff and a space in the other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bass cleff continues directly from treble with middle C being the one ledger line between them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is there a compelling reason not to do this?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pretty much all piano music uses bass cleff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Intentionally ensuring that you can't actually read any music from the instrument you are trying to learn seems like a bad idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63416/Legorhin", "score": 12 } }, { "sents": [ { "text": "It is common for piano staff to change clefs.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "There can be passages with both hands playing G clef or passages with both hands playing F clef.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You really need to read both clefs, and getting familiar with C clef is a good idea too.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Can the bass clef be transformed to the treble clef in piano music?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How can you do this with printed music without re-writing it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it makes no sense to put the effort into doing that instead of learning the different clefs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is there a compelling reason not to do this?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, readability.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason different clefs exist is so notes can fit conveniently onto a 5 line staff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Below shows what happens if you take notes that fit F clef and then put on a G clef... ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you get a nightmare of ledger lines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, if you transpose up two octaves to get the notes reasonably well centered on G clef and then put an octave line under it, you get something that is kind of misleading appearing to be a scale starting on A4 rather than A2 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try to read the interval changes rather than line and space letters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So this... ...should be read like", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"ascend two thirds, no accidentals\" rather than \"F A C.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course you must be aware of the letters, but it's more like the clef gives you an orientation (the center of the G clef", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "tells you where G4 is then you know the space below it is an F .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From that orientation you then read relative changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 9 } }, { "sents": [ { "text": "Since generally speaking the bass clef is played with l.h. and treble with r.h., and the hands are different, it makes sense that music for piano is written using both clefs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I imagine nearly all piano players would understand and appreciate that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, if you wanted to transcribe the bass clef notes so they sat in a treble clef", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", you could do that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A lot of work, and they'd have to be played at least an octave lower than written - no big deal there - and in the long run, more work than learning the notes in that pesky bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But you're probably only cofused with note names.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Actually, they're just two out from those in the treble clef:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the B that's on the middle line, treble, moves to the line below on bass, and retains its name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not the same B, obviously!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But B nevertheless.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another way to look at it is that the bass clef continues down from where the treble leaves off - leaving a big space for middle C (on its own leger line), whether middle cC is part of the treble or bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, yes, it's quite possible, but you'd be doing it for every piece for the rest of your life.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is that really worth it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 7 } }, { "sents": [ { "text": "If you really want to learn to read bass clef, do the opposite of what you are suggesting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rewrite the treble clef parts in the bass clef, and learn by total immersion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any music notation software can do this easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But spending time playing only the left hand parts of pieces will probably work just as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Choose pieces where the left hand has plenty of notes to read, not just a few simple chords - for example", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bach's two-part inventions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64478/guest", "score": 7 } }, { "sents": [ { "text": "Actually the bass clef seamlessly fits below the violin clef, which means, you will recognize a cross-system scale easily.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you are prepared to write all your scores yourself, this may be an option, but fairly few will be able to play from that.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The bass clef is not that difficult, and it is worth the effort to learn it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 6 } }, { "sents": [ { "text": "If you had to, you could use an octave or double octave clef, like", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the second one displayed here: The '15' indicates that symbol is to be read as 2 octaves away (a single octave is represented by an '8'); the direction of which is identified by the position of the number.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second symbol here with the 15 below the treble clef would be analogous to a bass clef with the notes 2 positions higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a 'Middle C' on this clef would play as C2, or the C two ledger-lines below the bass stave.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64534/BM-", "score": 1 } } ]

{ "question": "I have been learning the piano for a few months now and I am having trouble learning the bass clef. I have played other instruments that use the treble clef so I know it well. Can the bass clef be transformed to the treble clef in piano music? It seems like it would be much easier to read. Is there a compelling reason not to do this? Thanks.", "title": "Can the treble clef be used instead of the bass clef in piano music?", "forum": "music.stackexchange.com", "question_tags": "<piano><sheet-music><clefs>", "link": "music.stackexchange.com/questions/91983", "author": "music.stackexchange.com/users/64475/Brian Kalski" }

[ [ "The bass clef is not that difficult, and it is worth the effort to learn it. You really need to read both clefs, and getting familiar with C clef is a good idea too. Actually the bass clef seamlessly fits below the violin clef, which means, you will recognize a cross-system scale easily. Moreover, it is common for piano staff to change clefs. There can be passages with both hands playing G clef or passages with both hands playing F clef.", "It is usual for piano staff to change clefs." ] ]

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[ 7 ]

[ [ "It is common for piano staff to change clefs. The bass clef seamlessly fits below the violin clef, which means, you will recognize a cross-system scale easily. You really need to read both clefs, and getting familiar with C clef is a good idea too. If you are prepared to write all your scores yourself, this may be an option, but fairly few will be able to play from that." ] ]

[ { "sents": [ { "text": "I don't know the precise physics of this, but it's an expected phenomenon, especially on heavier strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When you first strike the string hard, the amount of displacement in the vibration from 'perfectly straight' stretches the string, so in effect raises its tension & therefore pitch.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As it gets quieter, that displacement becomes less, so the pitch drops slightly, back to 'nominal'.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you strike the string more softly, or further back towards the bridge, this will happen less.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is aside from anything you may accidentally be doing to the guitar as this happens, perhaps resting on the rear of the body whilst holding the neck, etc.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "or that as you progress through the strings, if all needed to be raised in pitch, by the time you get to the last string the neck will have pulled forwards slightly, making the earlier ones flat.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12556/Tetsujin", "score": 11 } }, { "sents": [ { "text": "Yes, this is expected, for the reason Tetsujin states -- that a string vibrating at a higher amplitude is under higher tension.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course this raises the question - do you tune the guitar so that the attack is in tune with the other instruments, or the decay?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The answer may depend on what kind of part the guitar is playing, and the mix of the track.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In many cases it will be too small a factor to matter much, but occasionally being mindful of the pitch envelope of the decaying string will help you improve your final recording a little.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 5 } }, { "sents": [ { "text": "It's always going to be the case, when you play the string too hard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think about it - the string is stretched slightly as you pluck it (more when you pluck harder), so the shown pitch is going to be higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once it settles down and is sounding normally, it's fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Way round is to not pluck too hard - the device should still 'hear' it, but in any case, wait a second to establish what the tuner has decided the note is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then tune accordingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On a personal note, I'm increasingly dismayed that so many players rely so heavily on tuners that soon they may have lost any other means of tuning!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wait till the battery goes flat!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "I was taught to tune from a higher frequency down to the correct value, instead of up from a low value.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There will likely be some difference in tension in the string, somewhere between the tuning mechanism to the nut after you stop turning the tuning peg.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I assume the friction of the strings on the nut causes this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It might not reveal itself directly, but when the tension evens itself out over the entire string later, the sounding part of the string can go slightly out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/27921/MeanGreen", "score": 1 } }, { "sents": [ { "text": "Most people find it easier to identify \"in tune\" when coming up from below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I dunno why; one of those neuroacoustic things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's the added advantage that you reduce the risk of snapping a string from overtensioning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And equally important: tuning from below means there's no backlash or relaxation effects.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you tune from above, you are releasing tension but the string may well take a little time to fully release - hence drifting out of tune.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And when tuning from below, the machine head (gears in the tuning mech) is always fully \"non-backlashed\" as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 1 } }, { "sents": [ { "text": "What I usually do: When I tune a guitar I pull on the string to stretch it or to control that it is correct fixed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, and as I mentioned in my comment: Maybe by tuning another string the neck gets slightly bowed and the string tension weakened.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 0 } } ]

{ "question": "If I tune a guitar typically I see that I strike the string and the tuner records a certain value, e.g. dead on E. However often (maybe not always - but I can't say for sure) a few moments later the tuner shows that the string is tuned slightly below E. What causes this? Surely as a string loses energy it doesn't drop in pitch?", "title": "guitar tuning - note shifts after striking it", "forum": "music.stackexchange.com", "question_tags": "<guitar><tuning><pitch>", "link": "music.stackexchange.com/questions/92715", "author": "music.stackexchange.com/users/56699/user307927" }

[ [ "When tuning a guitar when you first strike the string hard, the amount of displacement in the vibration from 'perfectly straight' stretches the string, so in effect raises its tension & therefore pitch. As it gets quieter, that displacement becomes less, so the pitch drops slightly, back to 'nominal'. If you strike the string more softly, or further back towards the bridge, this will happen less. This is aside from anything you may accidentally be doing to the guitar as this happens, perhaps resting on the rear of the body whilst holding the neck, etc.", "When you first strike the string hard, the amount of displacement in the vibration from 'perfectly straight' stretches the string, so in effect raises its tension" ] ]

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[ 7 ]

[ [ "When you first strike the string hard, the amount of displacement in the vibration from 'perfectly straight' stretches the string, so in effect raises its tension. As it gets quieter, that displacement becomes less, so the pitch drops slightly, back to 'nominal' This is aside from anything you may accidentally be doing to the guitar as this happens, perhaps resting on the rear of the body whilst holding the neck." ] ]

[ { "sents": [ { "text": "It has to be this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An 8th tied to a half.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or, possibly, if the grouping is 2+3, split the dotted quarter into a tied quarter and 8th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know you asked for NOT a tie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that isn't how rhythmic notation works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And inventing a personal system for something as simple as this isn't sensible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sorry!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 16 } }, { "sents": [ { "text": "Well, I suppose this might be theoretically possible with some sort of combination of nested tuplet brackets, but then you'd just create a bar that would be incomprehensible to normal musicians.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep in mind that where you put ties is not arbitrary: ties are frequently used to represent the beat structure, even when it is possible to write a single note value rather than two tied notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here, since it isn't possible to write a single note of five eighth-note duration using standard note values, it's all the more important to use the tie to indicate the beat structure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is, if you're in 5/4, the use of that time signature generally indicates 5 quarter note \"beats\" per bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, say you were writing a bar of 4/4 time with two notes that are 1.5 beats long and a final quarter note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While you could write it as dotted quarter-dotted quarter-quarter, many composers might write it out as dotted quarter followed by eighth tied to a quarter, then a final quarter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason is that showing the third (strong) beat in a 4/4 bar improves legibility.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That rhythm isn't perhaps complicated enough to require such a tied note, but more complex rhythms might make it very helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For your rhythm, with four 16ths on the first beat, and a dotted quarter on beat 2, it's actually helpful to show an eighth note on the upbeat of 3 tied to a half note on beat 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only time you'd want to show a long duration note occurring on an off-beat in a complex metric situation like this is if it's a regularly occurring pattern.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(And if you are commonly having long-duration notes fall on the \"and of 3\" in a 5/4 bar, maybe you don't actually have a 5/4 meter, but instead a 10/8 meter that is segmented (5+5)/8 and it would be better to notate it that way.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63809/Athanasius", "score": 13 } }, { "sents": [ { "text": "As it turns out, you just plain can't do this with only one note value.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, in Are ties necessary? , the questioner cites this exact problem of five eighth notes as one possible reason why ties must be used in our notational system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which leads to the next obvious question: why are you seeking a solution that uses only one a single note?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In all meters, you want to show the organization of the beats within the measure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such, for the sake of notational clarity, you would likely want to show this rhythm as an eighth note tied into a half.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 8 } }, { "sents": [ { "text": "An eighth-note tied to a half-note (or some other such tied combination) is the standard way to notate a single note with a duration of five eighth-notes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When you say you want “one note, not […] tied variations”, are you perhaps confusing ties with slurs?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They’re visually similar, but conceptually distinct: when a slur/tie connects noteheads of different pitches, then it’s a slur and just means they should be articulated legato, but when it connects two noteheads of the same pitch, it’s a tie, and really does mean they represent a single note of the combined total duration (unless it’s combined with certain other articulation markings, e.g. staccato dots).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "As Richard’s answer says, the choice between using a half note tied to an eighth, or an eighth tied to a half, or other possible combinations, should be determined by how they fit into the meter of the whole bar: the break between the two notes in the combination should line up with as high-level as possible a division of the meter.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2197/PLL", "score": 3 } }, { "sents": [ { "text": "I agree with the other answers that a tie is probably the best choice, since the musician is probably counting in 5/4, so they should be able to see the beat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It only requires one tie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if you want to emphasize the fact that the measure is being split exactly in half, you could make a 2-note half-note duplet of the 5/4 measure, though as said before, this is already notatable with ties, and I think it's less convenient to read or to comprehend.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61288/awe lotta", "score": 1 } }, { "sents": [ { "text": "I propose you indicate as instruction to the piece: a whole note=5/8 everything will be clear and you can forget all the rest, as it is your advice about the interpretation of your notation:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 0 } } ]

{ "question": "In a bar of 5/4 there are: 4 sixteenth notes (1 beat), a dotted quarter note (1.5 beats) which leaves me with representing 2.5 beats as one note (not a half note tied to an eighth note or other tied variations). So what single note should I write to represent 2.5 beats?", "title": "How to I represent 5 eighth-notes as one note?", "forum": "music.stackexchange.com", "question_tags": "<rhythm>", "link": "music.stackexchange.com/questions/93100", "author": "music.stackexchange.com/users/65097/Jeong Whoj" }

[ [ "An eighth-note tied to a half-note (or some other such tied combination) is the standard way to notate a single note with a duration of five eighth-notes. They’re visually similar, but conceptually distinct: when a slur/tie connects noteheads of different pitches, then it’s a slur and just means they should be articulated legato, but when it connects two noteheads of the same pitch, it’s a tie, and really does mean they represent a single note of the combined total duration (unless it’s combined with certain other articulation markings, e.g. staccato dots). However, if you want to emphasize the fact that the measure is being split exactly in half, you could make a 2-note half-note duplet of the 5/4 measure, though as said before, this is already notatable with ties, and I think it's less convenient to read or to comprehend.", "An eighth-note tied to a half-note (or some other such tied combination) is the standard way to notate a single note with a duration of five eighth-notes. " ] ]

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[ 7 ]

[ [ "An eighth-note tied to a half-note (or some other such tied combination) is the standard way to notate a single note with a duration of five eighth-notes. They’re visually similar to slurs." ] ]

[ { "sents": [ { "text": "Let's see: Doesn't look fake to me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But sort of cumbersome to read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E major has 4 sharps, so it's not surprising", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E sharp major has 4 double sharps and the other notes sharped.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general, going to the enharmonically equivalent key implies a jump by net 12 sharps/flats (2 for each whole step in the scale, 1 for each half step).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "F major has -1 sharps (well, 1 flat), so E sharp major has a net of 11, namely 3 single and 4 double ones.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 20 } }, { "sents": [ { "text": "It's not fake , it's theoretical .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "https://en.wikipedia.org/wiki/Theoretical_key", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is a theoretical difference between E sharp major and F major because they are spelled differently and reside in different places on the circle (spiral?) of fifths.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In practical terms, they are identical because they are enharmonically equivalent, thanks to equal temperament.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/57744/ibonyun", "score": 19 } }, { "sents": [ { "text": "It exists but probably isn't included as an article because, whereas a scale like Db minor is a flat note with no \"simpler\" spelling*, E# is enharmonic to F which is a white key and arguably simpler / more common to read.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Db minor also has double accidentals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Basically, E# refers to the same pitch as F, and there's not much reason to use E# as the root of your scale in the first place, so there's no article for E# minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a sidenote, E# and F don't necessarily refer to the same pitch.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, in the tuning system 19TET , E# is enharmonic to Fb instead, which then lies halfway between E and F. *typically Db minor is replaced with C# minor because C# minor, being the relative minor of E major, has a much simpler key signature without any double accidentals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But if a piece is in Db major and borrows chords / notes from the parallel minor, then Db minor would theoretically be used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/61288/awe lotta", "score": 8 } }, { "sents": [ { "text": "As other answers point out, E# minor exists in theory, but is in used vanishingly rarely (if ever) in practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But this provokes the followup question: if E# minor so rare as to be “purely theoretical”,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "why is G# major (with the same key signature) less rare in practice?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In isolation, G# major is just as impractical: for the primary key of a work, one would almost always write it as Ab major instead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But G# major is closely related to several minor keys which have fewer sharps in their key signature — most closely, C# minor and G# minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These keys do appear often in practice (since their enharmonic equivalents, Db minor and Ab minor, have more flats than these have sharps).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if a piece is primarily in C# minor and modulates to its dominant major, it’s often more readable to write the section in G# major than to switch between sharp spellings and flat spellings within the piece.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Generally, major keys have closely related minor keys with more flats/fewer sharps, while minor keys have closely related major keys with more sharps/fewer flats, so extremely sharp key spellings occur more often as major keys, while extremely flat key spellings occur more often as minor keys .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "On the sharp end, E# minor and A# minor are rarer than G# major and C# major respectively, as mentioned in the question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the flat end, Fb major and Cb major are rarer than Db minor and Ab minor, because (for instance) these minors can appear secondarily in a piece with primary key Ab major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2197/PLL", "score": 4 } }, { "sents": [ { "text": "Yes, an e-sharp minor scale exists, but you’re not gonna find many examples of one in music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you do, we can go yell at the editor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65268/Owen Gonzalez", "score": 3 } } ]

{ "question": "WikiPedia has an article about E-sharp minor scale (that is a scale relative to G-sharp major) there is no article of E-sharp major , instead it redirects to F major that is a scale using flats instead of sharps. I want to know if the E-sharp major scale is fake? PS. I am asking specifficaly this scale.", "title": "The musical scale E-sharp major is fake?", "forum": "music.stackexchange.com", "question_tags": "<scales>", "link": "music.stackexchange.com/questions/93445", "author": "music.stackexchange.com/users/65077/TechnicGoblin5R" }

[ [ "The E sharp major key is not fake it is theoratical. There is a theoretical difference between E sharp major and F major because they are spelled differently and reside in different places on the circle of fifths. In practical terms, they are identical because they are enharmonically equivalent, thanks to equal temperament. It exists but probably isn't included as an article because, whereas a scale like Db minor is a flat note with no \"simpler\" spelling*, E# is enharmonic to F which is a white key and arguably simpler / more common to read. S7: Generally, major keys have closely related minor keys with more flats/fewer sharps, while minor keys have closely related major keys with more sharps/fewer flats, so extremely sharp key spellings occur more often as major keys, while extremely flat key spellings occur more often as minor keys . ", "It's not fake , it's theoretical . " ] ]

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[ 7 ]

[ [ "It's not fake , it's theoretical . There exists a theoretical difference between E sharp major and F major because they are spelled differently and reside in different places on the circle of fifths.In practical terms, they are identical because they are enharmonically equivalent, thanks to equal temperament." ] ]

[ { "sents": [ { "text": "If you mean that your written sax music will be in A, then you are not changing the key, as it would still sound in C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you mean you want the song to sound in A, then that would put your sax part into 6 sharps!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/47576/Jomiddnz", "score": 2 } }, { "sents": [ { "text": "Basic transpositions for sax,l trumpet etc", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bb instruments (Bb clarinet, tenor/soprano sax, trumpet ...) Up one tone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C =>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D, F => G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "etc Eb instruments (alto/baritone sax) Down 3 semitones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A, F =>", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D etc Players of transposing instruments need to know these by heart (and being able to do simple transposition more or less by sight is also recommended.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62227/danmcb", "score": 2 } }, { "sents": [ { "text": "Saxophone are transposing instruments:", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Your instrument is called Eb-Sax because it plays an Eb when you play a written C.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This means it transposes a minor 3rd up (and as a Bariton an 8ve down!)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "So you have to notate and play an A on your instrument when you want to hear C.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(your instrument will transpose the A a minor 3rd up ...)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } }, { "sents": [ { "text": "It seems from your question that you want to play a song in C major on your baritone sax so you can play it in the same key as any accompanying instruments (that is, in \"concert pitch\").", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To do that, you have correctly identified that you will be playing in the key of A major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can do this at sight by imagining that the treble staff's bottom line isn't there, and that it has an extra line on the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, the real G line that has the treble clef on it becomes an imaginary E line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You also need to add the key signature for A major to your imagination, which comprises three sharps, namely, F#, C#, and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G#.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any accidentals on those notes will have to be adjusted accordingly, so for example if there's an Eb in the original, the transposed note is a C-natural.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This will be easier for some people than for others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This technique may also be more difficult if it transpires that you need to transpose up a major sixth instead of down a minor third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another way of doing it is just to think relatively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's how I have done it in the past when playing Bb trumpet from a concert-pitch score.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is, when you see a written D, for example, you know it's the second degree of the C-major scale, and since you're playing in A-major, you play the second degree of the A-major scale, which is B.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In older times, musicians learned to read every possible C clef in addition to the treble and bass clefs, so the technique for transposition would be to imagine that the notes were written in a different clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For this transposition, you would imagine that the C clef is on the bottom line.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you ever have to play a cello part on baritone sax, or any other part notated in bass clef, just imagine that it is notated in treble clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The end result is that the distances between the notes of the melody remain the same when measured in half steps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have difficulty doing this at sight, write it out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I encourage you to do it by hand rather than using a computer, because you will learn the music better that way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Start with a treble clef and the correct key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Copy each note that's on a line to the next lower line, and copy each note on a space to the next lower space.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Finally, if even that proves difficult for you, you can copy the music verbatim into a computer music notation program and then use the \"transpose\" function to lower the pitch by a minor third or raise it by a major sixth.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Again, I encourage you to copy the end result by hand to gain experience in writing music by hand and because hand copying (in my experience, at least) leads to a more thorough understanding of the music than does entering it into a computer.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2257/phoog", "score": 1 } }, { "sents": [ { "text": "Here's the quick dodge for transpositions (as long as you know your key signatures!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E&flat; baritone has three 'built-in' flats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's 'in E&flat;' after all! So, to play music for an instrument 'in C' (i.e. normal untransposed piano, no 'built-in' flats or sharps)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "we have to take away those three flats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which is the same as adding three sharps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So yes, to match C on piano, your bari will need to play in A. To match F (one flat)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it would need to play in D (two sharps).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Get the idea?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } } ]

{ "question": "I need to change the key of a song I’m playing. The song is changes by David Bowie and I’m hoping to change it from the original key in piano (C) to my baritone saxophone (the bari sax is in the key of Eb but I’d play it in the key of A) I’m very confused and I don’t even know if I’m doing it right. Someone please help.", "title": "Changing keys from the piano to Baritone Saxophone", "forum": "music.stackexchange.com", "question_tags": "<piano><key><key-signatures><saxophone><transposition>", "link": "music.stackexchange.com/questions/93500", "author": "music.stackexchange.com/users/65287/Jack Vermette" }

[ [ "Saxophone are transposing instruments: Your instrument is called Eb-Sax because it plays an Eb when you play a written C. This means it transposes a minor 3rd up (and as a Bariton an 8ve down!). So you have to notate and play an A on your instrument when you want to hear C. Any accidentals on those notes will have to be adjusted accordingly, so for example if there's an Eb in the original, the transposed note is a C-natural. Finally, this can be done by copying the music verbatim into a computer music notation program and then using the \"transpose\" function to lower the pitch by a minor third or raise it by a major sixth. It is a better experience to attempt to do it by hand as it leads to a more thorough understanding of the music. ", "Saxophone are transposing instruments" ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [] ] }

[ 7 ]

[ [ "Saxophone are transposing instruments. Even if that proves difficult for you, you can copy the music verbatim into a computer music notation program and then use the \"transpose\" function to lower the pitch by a minor third or raise it by a major sixth. " ] ]

[ { "sents": [ { "text": "Piano strings are attached to a cast iron frame, also known as harp.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Cast iron is much less sensitive to humidity and temperature changes than wood.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is the main reason why they stay in tune relatively well.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In contrast, harpsichords are somewhat similar but their frames are made of wood and they require much, much more tuning.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Other factors are that that pianos aren't usually moved and won't get knocked out of tune.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "They usually require tuning after moving.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The metal strings are stable once initially settled, unlike synthetic or gut strings.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Playing the piano also doesn't involve touching the strings with your hands, which puts dirt and moisture on the strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56741/ojs", "score": 55 } }, { "sents": [ { "text": "Most pianos can hold their tuning quite well, but can do so only under ideal conditions.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Because pianos weigh quite a bit they tend to not get moved around very much and are usually kept where temperature and humidity hold a fairly steady level over an extended period of time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Expose a piano to the same conditions that smaller more portable instruments are subject too and you find they need to be tuned quite often.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Move a piano and it will probably need tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Expose it to considerable temperature change, either hot or cold, and it will probably need to be tuned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although piano strings are considerably heavier in weight and gauge, they are still susceptable to the laws of physics just the same as violins and guitars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 12 } }, { "sents": [ { "text": "They do, and they are!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But only really with concert grands prior to a concert.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not as far out as maybe a guitar or violin might be, but just a subtle tweaking. Guitar and violin, for starters, have exposed tuners which get knocked easily - in and out of its case, for example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pianos are different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The mass of a piano also means its tuning is more stable, but over time it will still go out of tune, humidity and temperature differences being the main culprits - which also affect guitars and violins more rapidly, and to a greater degree as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Stretching strings on guitars will affect tuning, and that's one thing we don't do on pianos!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 8 } }, { "sents": [ { "text": "In critical concert and studio situations the piano WILL be tuned before each performance, and sometimes even 'touched-up' during it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the design and construction of a piano is such that they hold tuning pretty well, and in domestic situations tuning twice a year or even less frequently can be practically sufficient.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other instruments can hold tuning too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In Carol Kaye's instruction book - bible to a generation of bass guitar players - she recommends checking the tuning 'at least once a week'!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A friend, who used to stay with me when he visited London, died 10 years ago.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He left an acoustic guitar at my house.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I opened the case recently, it was still perfectly in tune!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 6 } }, { "sents": [ { "text": "It very much depends on strings and their fixtures.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pianos have steel strings on a steel frame: short of moving the piano or changing temperatures, not a lot happens here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On a violin, the E string usually is a steel string as well and mostly needs fine tuning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Guitars similarly: steel strings need less tuning action than nylon strings, so concert guitar players tend to spend more time tuning than, say, Western guitar players (which is a tiny saving grace for 12-string guitars).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But wooden neck and corpus still move more under different temperature/humidity than a cast-iron frame.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/None/", "score": 3 } } ]

{ "question": "I usually tune my guitar and violin whenever I play them. I assume most people do too. But what makes piano strings different? I know it is a lot of work to tune a piano, but I'm under the assumption that pianos do not need to be tuned as often as say a guitar. Is this incorrect?", "title": "Why do pianos not need to be tuned every time you play?", "forum": "music.stackexchange.com", "question_tags": "<piano><tuning><instruments>", "link": "music.stackexchange.com/questions/93668", "author": "music.stackexchange.com/users/25276/Al Jebr" }

[ [ "Piano strings are attached to a cast iron frame, also known as harp. Cast iron is much less sensitive to humidity and temperature changes than wood. This is the main reason why they stay in tune relatively well. Other factors are that that pianos aren't usually moved and won't get knocked out of tune. They usually require tuning after moving. The metal strings are stable once initially settled, unlike synthetic or gut strings. Playing the piano also doesn't involve touching the strings with your hands, which puts dirt and moisture on the strings.", "Most pianos can hold their tuning quite well, but can do so only under ideal conditions" ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [ "Playing the piano also doesn't involve touching the strings with your hands, which puts dirt and moisture on the strings." ] ] }

[ 7 ]

[ [ "Piano strings are attached to a cast iron frame, also known as harp. Cast iron is much less sensitive to humidity and temperature changes than wood. Most pianos can hold their tuning quite well, but can do so only under ideal conditions. Playing the piano also doesn't involve touching the strings with your hands, which puts dirt and moisture on the strings. The metal strings are stable once initially settled, unlike synthetic or gut strings." ] ]

[ { "sents": [ { "text": "The 2.5A and 250V on the cable is just the highest current (Ampere) and voltage (Volts) that it's safe to use at.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Provided that your mains supply is in the range 100V to 240V", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "then that's no problem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're not sure about the voltage in your country take a look at the Mains electricity by country article on Wikipedia.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19615/Simon B", "score": 11 } }, { "sents": [ { "text": "To plug what to what??", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your cable fits the power supply for the keyboard, then that's fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you're considering plugging it straight into the Waldorf directly, it will go BOOOM big time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "[I'm assuming it's the first - the second really shouldn't be physically possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If it was, someone would have set their house on fire by now]", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/12556/Tetsujin", "score": 5 } }, { "sents": [ { "text": "A simple cable with just wires and no electronics inside, as the one your photo shows, will simply forward any voltage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It won't change it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The label on the cable specifies the maximum voltage it was made for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can use it for any lower voltage as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The ~ says that the voltage is alternating, in contrast to = where the voltage is constant (aka.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "direct).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm not sure how many different Waldorf Blofeld models exist, but one looks like this: If your keyboard has this connector labelled AC", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In (alternating current in), then your cable will fit into the wall on one side and into the keyboard on the other side.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No serious electronics engineer would construct a 12 V= plug with that kind of connector, simply because everybody expects to put 110 V~ or 230 V~ into it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A typical low voltage DC connector looks like this:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So there's no way you could accidentally mix a high voltage AC cable with a low voltage DC plug.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If your keyboard has a low voltage DC connector, then you need a power supply that converts 110 or 230 V~ to 12 V= like this (should have been shipped):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you can see, it has the high voltage connector on one side and the low voltage connector on the other side.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/34120/Thomas Weller", "score": 4 } }, { "sents": [ { "text": "No.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 250v is AC, and the keyboard is DC, and only 12volts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Completely incompatible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Playstation plug is a 'figure of eight' or 'Grundig' plug, used exclusively for mains powered items.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It also gets used to power the black boxes (psu) which do transform 250vac into the 12vdc that your keyboard requires.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But do not connect up direct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can't think how you could anyway, as the keyboard will have a round socket for power, so it wouldn't (thankfully) fit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "EDIT _", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I get it now!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The figure of eight plug will fit your keyboard, it's just that the end which goes in the wall socket isn't right for your country!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Any wire with the right plug ito the wall, and a figure of eight at the other end will do!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "The Waldorf Blofeld requires a \"tip positive\" DC barrel connector supplying 12 Volt at least at 500 mA.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The mains should only connect connect to a step down transformer and rectifier to convert it from 250 Volts AC to 12 Volts DC.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Only use the mains PlayStation cable to the mains transformer.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2567/Rob Kam", "score": 2 } }, { "sents": [ { "text": "Cite from the FAQ at https://support.waldorfmusic.com/products/Blofeld%20Keyboard", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Can I use my Blofeld Keyboard with the power grid in my country?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The device comes with a wide range power supply which covers everything between 50-60 Hz and 110-240V.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You just need a power cord with a \"figure of 8\" cable, also known as C7 connector and the other plug matching the power grid standard in your country.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A voltage converter is not needed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cite from https://www.power-plugs-sockets.com/south-korea/ In South Korea", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the power plugs and sockets are of type C and F.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The standard voltage is 220 V and the standard frequency is 60 Hz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So your cable should fit.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65495/Mike11", "score": 1 } } ]

{ "question": "I just got my new synthesizer, Waldorf Blofeld Keyboard. I live in Korea and the power plug that came with won't match. This is the plug that came with the keyboard: and this is the receptacle on the back of the keyboard: The Waldorf specs are Nominal voltage: DC12V Supply Voltage: 100-240v Maximum current consumption: 0.3 A Maximum power consumption: 5 W I have playstation cable which is 2.5A 250V~ Could I plug this to my Waldorf Blofeld Keyboard ? Would it be ok ?", "title": "Can I plug a 2.5A 250V~ cable to a synth that is 100 - 240v?", "forum": "music.stackexchange.com", "question_tags": "<synthesizer><electronics>", "link": "music.stackexchange.com/questions/93837", "author": "music.stackexchange.com/users/47848/Hyun Yoo Park" }

[ [ "The 2.5A and 250V on the cable is just the highest current (Ampere) and voltage (Volts) that it's safe to use at. The mains should only connect connect to a step down transformer and rectifier to convert it from 250 Volts AC to 12 Volts DC.", "The Waldorf Blofeld is safe to use at 2.5A and 250V. It" ] ]

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[ 7 ]

[ [ "The Waldorf Blofeld is safe to use at 2.5A and 250V. It requires a \"tip positive\" DC barrel connector to supply 12 Volt. The mains should only connect connect to a step down transformer and rectifier to convert it from 250 Volts AC to 12 Volts DC." ] ]

[ { "sents": [ { "text": "That’s an Em chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Any chord that has the notes E, G, B is an E minor chord, and if E is the lowest note, its chord symbol is ”Em”.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "(If, say, G was the lowest note, it would be a so-called inversion and the chord symbol would be ”Em/G”.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The sounding notes at the start are E, G, B and G as the high melody note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E string open (0) : E (lowest note, bass note)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A string : not played, no note D string : not played,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "no note G string open (0) : G B string open (0) :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B E string 3rd fret :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G (melody note) E + G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "+ B is a basic E minor chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After that the melody goes down from G to F#, E.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 2 } }, { "sents": [ { "text": "Most times, yes, Em open is played with just the two notes fretted on the A and D strings, 2nd fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However - E minor is made up from just three notes - E G and B. They could be played as a three string chord on guitar, or, could be doubled up or even tripled - which is what happens to the E notes in the chord you know.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But - by losing the top E and replacing it with a top G?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well, we still have the same three notes, just a different mix!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's called a different voicing , and is quite permissable and correct - just not the one shown in most books to beginners!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An excercise I use with students is to consider the notes making up a chord, and find each one on a convenient string.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When all 5 or 6 are accomodated, look at the shape.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's probably one that's very familiar!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Have a try with some triads - GBD is a nice one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It'll help you understand why chord shapes are like they are on guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "I suspect you're confusing chord-shapes with chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There may be a hundred way to play Em on the guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What they all have in common is the notes E,G and B.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The notes may be this way up or that; they may be arpegiated or simultaneous; they may all be present or just two of them; they may be doubled or trebled.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It makes no difference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In all case it is the same chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A chord is a fixed and definite set of notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A chord-shape is one of many and various ways of playing those notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/53546/PeterJ", "score": 2 } }, { "sents": [ { "text": "That's an E minor chord at the start.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think the contents of chords are any different in fingerstyling (though the most often used voicings very well could be).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The played notes at the very start, from bottom to top, are E-G-B-G: a match for an E minor chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The next two notes you need to play are F&sharp; and E. (Treat the F&sharp; as a passing note.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/37354/Dekkadeci", "score": 1 } }, { "sents": [ { "text": "An E min chord is just the notes (E, G, B) with possible repeated notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There must be a dozen ways to play this, and every other chord out there, on the guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, when judging what a chord is try to use the formula.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Use the major scale degrees.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Major scale degrees = (1, 2, 3, 4, 5, 6, 7) or (1, 3, 5, 7, 9, 11, 13).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Major chord =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(1, 3, 5) Minor chord = (1, b3, 5) Diminished =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(1, b3, b5) Augmented =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(1, 3, #5) Maj 7th chord = (1, 3, 5, 7) Dominant 7 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(1, 3, 5, b7)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Minor 7th = (1, b3, 5, b7) etc, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 1 } } ]

{ "question": "I am fairly new to guitar, and I've been learning the basic chords for a month and so now, and I came across this yesterday, when trying to learn a song. It says it starts with an E minor, but that doesn't look like an E minor. Are chords different in finger styling?", "title": "Em in fingerstyling, is it different?", "forum": "music.stackexchange.com", "question_tags": "<chords><fingerstyle-guitar>", "link": "music.stackexchange.com/questions/93919", "author": "music.stackexchange.com/users/65342/user65342" }

[ [ "Any chord that has the notes E, G, B is an E minor chord, and if E is the lowest note, its chord symbol is ”Em”.", "Any chord that has the notes E, G, B is an E minor chord, and if E is the lowest note, its chord symbol is ”Em”." ] ]

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[ 7 ]

[ [ "This is an Em chord. Any chord that has the notes E, G, B is an E minor chord, and if E is the lowest note, its chord symbol is ”Em”." ] ]

[ { "sents": [ { "text": "No, you are playing in C# min.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The point of the capo is to allow you to use open string chord forms in any key rather than bar chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 12 } }, { "sents": [ { "text": "When you play an Am fingering with a capo on the 4th fret, the sounding chord is C#m and sound is what counts .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When other people listen to your guitar and sing or play along with it, they don't need to know how you used a capo.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "would this technically change the Key to A minor?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If there's another guitarist, you can explain as a technical detail that you're fingering the chords like in A minor, but with capo 4.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 12 } }, { "sents": [ { "text": "All those chords are diatonic to key Am - when there's no capo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wherever the capo goes means you count up that many semitones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So if it was on the second fret, all the chords would be one whole tone higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this scenario, they'd be Bm D A Em G F&sharp;, respectively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, you've gone up another tone, making two tones higher than original no capo chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now, they're C&sharp;m E B F&sharp;m", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A G&sharp;.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Putting the key into C&sharp;m .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chord shapes as quoted make it easy to change the key to whatever you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They're basic chrds, and become dependant on where the capo is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That song, with capo on 4, will come out as in C&sharp;m on a standard-tuned guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 5 } }, { "sents": [ { "text": "The capo thing can get real confusing and all the capo cheat sheets online look different, so its hard to know what's the best logic to use to figure this stuff out.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The best logic to understand how it functions is: to learn the chromatic scale to learn the names of the strings to understand what tones will sound when you play a certain chord pattern", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The best is you write on a stripe of paper the chromatic scales on the neck along the frets:", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "e.g. referring to the A-string A-A#-B-C-C#-D-D#-E-F-F#-G-G#-A (A = fret 0 or open string)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "let's assume you know the string names from 6,5,4,3,2,1 = E,A,D,G,B,E", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chord of Am is built on the triad A,C,E:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so we can use the open strings", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E,A and E (6,5,1) Finger:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "String: Fret: Tone: 1", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "--------", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B--------1-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "---> C (up 1 semitone) 2--------", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D--------2----", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E (up 2 semitones) 3", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "--------", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G--------2-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "---", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "> A (up 2 semitones) and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you play the finger pattern 123: what happens if you push or press down a string? by each fret higher", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you shorten the string and the tone is a semitone higher!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "this explains why you have to put your fingers on the frets mentioned above to build this tones A,C,E on the strings G,B,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D what happens if you put the capo?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "all strings are shortened and the chord is transposed up by each fret you move the capo: also the A-minor chord (and any other chord you learn ... like C, G, Dm, F and E) will be transposed up a semitone by each fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so we get moving the a-minor chord with the capo (mind the chromatic scale A,A# B,C,C# ... fret 1 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A#m fret 2 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bm fret 3 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cm fret 4 =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C#m etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "if you play the A-minor chord with capo you will transpose up this chord by each fret (+ a semi tone; mind that you have to learn also the enharmonic names of flat notes (the black keys of the keyboard) that are equivalent to the sharps (#) that are described above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "Here's a quick and dirty rule that you can apply without thinking about it.(Though", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's good to eventually get a real understanding.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The open strings of a standard guitar are tuned to C major (and A minor).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Imagine the note C (or A) on the piano, count up 4 additional semi-tones, and you'll be on E (or C♯).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The guitar is now tuned to E major (and C# minor) with a capo on the 4th fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63527/Ray Butterworth", "score": 1 } }, { "sents": [ { "text": "I don't know what you mean by 'technically' changing the key?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You're playing chord shapes in A minor - THINKING in A minor -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but on an instrument that has been shifted up by 4 semitones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So an Am chord shape produces a C&sharp;m sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No technicalities, just that straightforward fact.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "The method I use to determine the capoed key is based on which root chord form (C, D, E, A, F, G, etc.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "in first position I'm using to play higher on the neck in the capoed position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I simply add 1/2 steps represented by the frets to the original chord fingering pattern to arrive at the newly adjusted key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In order to determine the scale fingering pattern for playing a melody, you can then use the CAGED fingering patterns, selecting the fingering pattern associated with the original uncapoed root chord, but I have to say I don't know any players that actually use a capo to play melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most melody players/ improvisers, simply determine the key and chose their own preferred fingering patterns to play along with.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a simple concept made more confusing by the number of root position chords in the first position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The main thing to know is which root chord", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "you start to count from.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44636/skinny peacock", "score": 0 } } ]

{ "question": "I have a song I'm playing on guitar and the original key is C# minor. If I play with a capo on the 4th fret, the chord shapes in the song are Am, C, G, Dm, F and E. So would this technically change the Key to A minor?", "title": "Key of a song with capo on the 4th fret", "forum": "music.stackexchange.com", "question_tags": "<theory><guitar><key><capos>", "link": "music.stackexchange.com/questions/93976", "author": "music.stackexchange.com/users/65563/Kim" }

[ [ "When you play an Am fingering with a capo on the 4th fret, the sounding chord is C#m and sound is what counts. When other people listen to your guitar and sing or play along with it, they don't need to know how you used a capo. The capo thing can get real confusing and all the capo cheat sheets online look different, so its hard to know what's the best logic to use to figure this stuff out. The best logic to understand how it functions is to learn the chromatic scale to learn the names of the strings and to understand what tones will sound when you play a certain chord pattern ", "The best way to understand how it functions is to learn the chromatic scale and learn the names of the strings. " ] ]

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[ 7 ]

[ [ "When you play an Am fingering with a capo on the 4th fret, the sounding chord is C#m and sound is what counts. The best logic to understand how it functions is to learn the chromatic scale and learn the names of the strings. The chromatic scales can be written on a stripe of paper on the neck along the frets." ] ]

[ { "sents": [ { "text": "Never.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C° is always C diminished.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "C major seventh can be signed with a triangle after the C. Bear in mind that half-diminished is signified by a circle with a diagonal line through it.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Cmaj7 is C E G B. C°7 is C E&flat;", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G&flat; B&flat;&flat;. C half dim.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "is C E&flat;", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G&flat; B&flat;.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note: they all contain C E G B something .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 15 } }, { "sents": [ { "text": "I have never ever seen \"o\" denoting a major 7 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A triangle can be used for maj7 in some books (e.g. the Aebersold play alongs), and 'o' is always diminished.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may also encounter a slashed cirle (ø) for half diminished (min7 b5) chords.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/1079/gurney alex", "score": 6 } }, { "sents": [ { "text": "If you're playing from sheet music that's been handwritten, or perhaps photocopied multiple times, it's not uncommon for the small △ symbol, which denotes Maj7 to end up looking like small circle °, which, as you say, denotes Diminished.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Or if the copyist isn't particularly careful, the circle and triangle can end up looking similar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9426/Brian THOMAS", "score": 5 } }, { "sents": [ { "text": "o a degree sign for diminished triad or o7 for diminished seventh chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "ø7 for half-diminished seventh chords. Δ7 a delta or triangle for major seventh chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other signs are used capital M for major or lower case m for minor, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may have been mistaking the delta for a diminished sign.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 5 } }, { "sents": [ { "text": "I had always thought that this notation indicated a major seventh chord: [C°].", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least it seemed to make sense that way in some of the chord sheets I have used in the past.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This must have been an error.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As Cmaj7 is a static chord (or eventuell would lead to F)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it couldn't be substituted by C°, while latter might have a dominant function to Db, (or E, G and Bb) and certainly can't be replaced by Cmaj7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Edit: As the other answers confirm C°7 was never meaning C major 7 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "` I've edited the last words ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "was never a major 7 as someone could understand A-major 7 ( a was meant as article not as chord).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "While answers are correct that C° means C diminished and CΔ means CMaj7, there is more to the story here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In jazz, C° is a very common delayed resolution to CMaj7.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example, in a simple ii-V-I: | Dmin | G7 | CMaj7 | CMaj7 |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's very common to hear pianists harmonize this with:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "| Dmin | G7 |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C°7 CMaj7 | CMaj7 |", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In this context, the scale typically used over C°7 is C whole-half (enharmonically, C D E♭ F G♭ A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭ A♮ B ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This diminished scale contains the BMaj triad, which resolves up a half step to a CMaj triad when we reach the CMaj7 chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, while the C°7 can be voiced with a BMaj triad, this isn't necessarily and isn't always done in jazz.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We can simply voice the C°7 chord in its typical fashion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This isn't all that different from a common-tone diminished 7th chord , which resolves ii o7 to IMaj (for example, D♯ o7 to CMaj).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After all, D♯ o7 has the same notes as C o7 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But in a jazz context, the bass is often still playing the I, establishing the progress", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "as i o7 - IMaj7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lead sheets may show this i o7 chord written into the bar, or they may show it above the bar in parentheses to indicate that it's a possible chord substitution.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Or, it may not be shown at all, in which case the musician(s) are choosing to add this substitution into the music on the fly.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40842/jdjazz", "score": 0 } } ]

{ "question": "I had always thought that this notation indicated a major seventh chord: [C°]. At least it seemed to make sense that way in some of the chord sheets I have used in the past. I am now finding that it more commonly seems to represent a diminished chord, as in [Ab°(b13)] or [A flat dim flat 13]. My first question is has anyone here ever seen [°] used to represent a major seventh, or am I labouring under an illusion ;-)", "title": "Does C° also indicate a major seventh chord?", "forum": "music.stackexchange.com", "question_tags": "<guitar><chords><jazz>", "link": "music.stackexchange.com/questions/94021", "author": "music.stackexchange.com/users/65585/Al Dunbar" }

[ [ " C° is always C diminished. C major seventh can be signed with a triangle after the C.You may also encounter a slashed cirle (ø) for half diminished (min7 b5) chords. If you're playing from sheet music that's been handwritten, or perhaps photocopied multiple times, it's not uncommon for the small △ symbol, which denotes Maj7 to end up looking like small circle °, which, as you say, denotes Diminished. ", "C° is always C diminished" ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [ "Or if the copyist isn't particularly careful, the circle and triangle can end up looking similar." ] ] }

[ 7 ]

[ [ "C° is always C diminished. C major seventh can be signed with a triangle after the C. Half-diminished is signified by a circle with a diagonal line through it. Lead sheets may show this i o7 chord written into the bar or they may show it above the bar in parentheses to indicate that it's a possible chord substitution. In jazz, C° is a very common delayed resolution to CMaj7. It's not uncommon for the small △ symbol, which denotes Maj7 to end up looking like small circle °." ] ]

[ { "sents": [ { "text": "If you're happy playing open chords as opposed to the barres involved here, take the song up by a semitone - most likely not going to strain any tonsils - and substitute as follows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G for F&sharp;, D for C&sharp;, Em for D&sharp;m and C for B. Pretty simple and straightforward.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only drawback really being you won't be able to strum along with the track - but that wasn't mentioned...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Indebted to trolley813 - by tuning the guitar a semitone down, it will render averything back to the 'original' key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 11 } }, { "sents": [ { "text": "Assuming the trouble for you is playing all barre chord, you can try playing the chord on 3 strings... F# xx432xC# xx312xd#m", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "xx434xB", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "xx444x", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can't strum them in the way of open chords, but a broken chord pattern with pick or fingerpicking will work nicely.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 4 } }, { "sents": [ { "text": "If you put a capo on fret 4 you can play three of the four chords using open chord shapes.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "F# at the 4th fret can be played with a 'D' shape: %x.x.4.6/1.7/3.6/2[Fmaj]", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "C# at the 4th fret can be played with the 'A' shape: %x.4.6/2.6/3.6/4.4[C#maj] B at the 4th fret can be played with the 'G' shape: %7/3.6/2.4.4.7/3.7/4[Gmaj]", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The only slightly more awkward one in this situation is the D#m, which could be played as a barre chord: %x.6/1.8/3.8/4.7/2.6/1[D#m]", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/65839/dandgore", "score": 3 } }, { "sents": [ { "text": "Here's my take on this.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chords where you only play the three highest strings, and you do not play the bass strings marked with X.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The chords are not in root position, except B, but I don't think that matters, because the notes are so high anyway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a bit like ukulele.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 1 } }, { "sents": [ { "text": "You ask about using a capo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By putting one on the second fret, you can use open chords as if it's in key E. The F&sharp; now gets an E shape, the B gets an A shape and the C&sharp; can be played as B7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes, there's an extra note, but that's acceptable in a V chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The slightly odd one's going to be vi - the D&sharp;m, which is pretty close to F&sharp;6.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "By playing an E6 shape (022120) it will sound o.k.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, you'll be using 'open' chords, four fingers maximum, all changes straightforward.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Give it a try - and you're still sounding in the same original key - F&sharp;.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } } ]

{ "question": "I really like a song and when I saw the chords they are : F#, C#, Dm#, B.And I'm beginner so is there a easier version for these chords or like change the chords and use a capo?", "title": "How to simplify difficult barred chords in a song", "forum": "music.stackexchange.com", "question_tags": "<acoustic-guitar><transposition><capos>", "link": "music.stackexchange.com/questions/94430", "author": "music.stackexchange.com/users/65838/Shekinah" }

[ [ "If you put a capo on fret 4 you can play three of the four chords using open chord shapes. F# can be played with a 'D' shape. C# can be played with the 'A' shape. The only slightly more awkward one in this situation is the D#m, which could be played as a barre chord.", "By putting a capo on fret 4 you can play three of the four chords using open chord shapes." ] ]

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[ 7 ]

[ [ "By putting a capo on fret 4 you can play three of the four chords using open chord shapes. F# at the 4th fret can be played with a 'D' shape. C# at the 4th fret can be played with the 'A' shape. C# at the 4th fret can be played with the 'A' shape. " ] ]

[ { "sents": [ { "text": "You cannot omit an altered fifth.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In other words, you cannot omit the b5 from either a half-diminished chord or a diminished chord, or the #5 from an augmented chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The omission of the 5th only works for unaltered fifths that are implied by the harmonic overtones of the root.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6780/Kirk A", "score": 13 } }, { "sents": [ { "text": "Quite often the most important note of a \"m7-5\" chord is the \"-5\", and leaving that out spoils its harmonic effect more than leaving out some other note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you have to leave something out, ditch the seventh or maybe even the third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is one reason why it's better to look at \"Bm7-5\" as Dm6/B.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the contexts where it's commonly used, there are two important notes: F and B.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's like, F is for the minor character (like in Dm) and B is for the bass movement, like in Bm7-5 - E7 - Am.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or what do you say, isn't the fact that the seventh can be left out rather than the \"-5\", a telltale sign that it's more of a Dm than a Bm? :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 4 } }, { "sents": [ { "text": "The P5 from the root of a major or minor chord can be omitted because that sound is already heard in a harmonic from the root note, albeit more quietly than if it was played as a saparate note.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The diminished chord has 1, &flat;3 and diminished 5.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "That dim.5 is not contained in the harmonics of ,well, either note from that chord.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So leaving it out means just that - it's not going to be there at all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, no proper chord!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, the 'rule' that you can leave out the 5th won't apply to diminished (or augmented) chords, only majors and minors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact, the 'rule' ought to be you can leave out P5 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "In Levine's Piano Jazz book he gives an example of Bud Powell voicings (shells) where the minor seventh and half diminished are the same - a minor seventh over root, all other tones omitted... ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it isn't stated in the text around that figure, but I think the assumption is the flat fifth will be supplied in the right hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "what's the difference between the the two chords if we have the removed the 5th which is not essential?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The diminished fifth is essential to define the half diminished chord, but apparently it isn't required to be in the shell.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Supply it in another voice (or possibly it will be implied by the surrounding harmony.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 2 } }, { "sents": [ { "text": "The whole point of shell voicings is to provide some \"flavour\", often for the purpose of supporting a soloist (maybe yourself), rather than to completely define every single chord, or to tell the soloist what they should play.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Similarly, the lead sheet may say \"G13\" but you might well choose to play a G7 - and leave a bit of space.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "So although the answers above may be technically correct in terms of harmonic theory - from the point of view of a musician on a gig - they should not be your primary consideration.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Which actual notes you choose should be determined by what you hear the other musicians do, making nice voice leading, and so on.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/62227/danmcb", "score": 2 } } ]

{ "question": "I am learning about shell voicings for 7th chords. I understand that you you remove the 5th because it makes no difference in the quality of the chord.That leaves me with Cmin7 being C Eb BbC half diminished being C Eb Bb So because we removed the 5th, both chords have the same notes and therefore the same sound. In that case, what's the difference between the the two chords if we have the removed the 5th which is not essential?", "title": "What's the difference in sound between the shell voicing of a minor 7th chord vs a half diminished 7th chord?", "forum": "music.stackexchange.com", "question_tags": "<chords><jazz><chord-voicings>", "link": "music.stackexchange.com/questions/94607", "author": "music.stackexchange.com/users/65956/JFarobek" }

[ [ "The P5 from the root of a major or minor chord can be omitted because that sound is already heard in a harmonic from the root note, albeit more quietly than if it was played as a saparate note. The whole point of shell voicings is to provide some \"flavour\", often for the purpose of supporting a soloist (maybe yourself), rather than to completely define every single chord, or to tell the soloist what they should play.", "Actual notes you choose should be determined by what you hear the other musicians do, making nice voice leading, and so on." ] ]

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[ 7 ]

[ [ "The P5 from the root of a major or minor chord can be omitted because that sound is already heard in a harmonic from the root note", "Shell voicings are often used for the purpose of supporting a soloist, rather than to define every single chord. Similarly, the lead sheet may say \"G13\" but you might well choose to play a G7 - and leave a bit of space. Which actual notes you choose should be determined by what you hear the other musicians do, making nice voice leading, and so on." ] ]

[ { "sents": [ { "text": "The only way to learn to be an effective sight reader is to practice it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Concentrate on reading above and below the staff notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I sometimes practice hand excericises with my eyes closed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "this familiarizes your fingers with the keyboard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66004/Flashshockley", "score": 3 } }, { "sents": [ { "text": "Learn to know the keyboard like driving your car: orientation on the keyboard: a) all 2 black keys open eyes b) with closed eyes) Find all 3 black keys (all octaves), in the same way: all 2 black keys, all EF and BC (the white semitones), all D (between the 2 black) all DC, triads and scales Play ceg, dfa (the scale of C)", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "blind, always stay in contact with the black keys and always mind the shape of the pattern.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Play the scale of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B major:1231234 (thumb on B and E) go through all sharp keys", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the accompaniments of the l.h. are often triads and tetrads up and down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Practice them in all keys, always analyzing the You can invent similar short orientation exercises and practice them without shhet music, blind, but always imagine or singing the notes you‘re playing, 2-3 minutes before you start reading.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Another way is reading and playing bar by bar or phrase by phrase, memorizing the keys and notes, seeing and blind, but always listening.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "At the end you can play the piece by heart.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Btw.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it‘s not just a bad habit to look down on the keys", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": you can also express a lot of music by looking down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You have all the time of your life for reading notes, stay in contact with your piano, it loves, when you look into its (k)eys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "http://www.micrologus.com/courses/sight_reading_method", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For disclosure, I worked on developing the above system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58618/MMazzon", "score": 1 } }, { "sents": [ { "text": "There is a kind of hymnal (Reformation church) that uses only long note values for four part harmony.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like The Scottish Hymnal .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think these can be good for sight reading for a number of reasons: lots of (homophonic) music is based on adding rhythmic figures to a basic harmonic framework, the long note values in these hymnals focus on only those important harmonic tones most of the movements from chord to chord involves only single step motions or held tones which you can use as \"anchors\" for changing your hand position without looking at your hand", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "a lot of harmony examples are packed into a short space", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "most of the key signatures are easy If you practice playing double notes in one hand and changing fingers on repeated notes, along with sight reading the hymnals, it really help develop skills to play without looking at your hands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least it's helping me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 1 } }, { "sents": [ { "text": "My son worked with a sight reading book series by Paul Harris.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was excellent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm sure there are other good ones as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each exercise is short, and includes phrasing and dynamics.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Interestingly enough, that is helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In addition, the exercises are extremely graduated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, the student is given a procedure to follow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Look over the exercise carefully before putting your hands on the keyboard:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "time signature, tempo, key signature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Count out or imagine the rhythm once through, without playing yet.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, look at the melody and ask yourself, what scale degree is this starting on? -- this can help one visualize , so to speak, what the melody will sound like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some knowledge of music theory will be helpful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The main thing is to work at your level -- which will be lower than the level of your repertoire pieces.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Imagine it as well as you can in your mental ear before you play it, and choose a very slow tempo -- and stick to it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Give it phrasing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make it beautiful or at least interesting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/19678/aparente001", "score": 1 } }, { "sents": [ { "text": "No short cuts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Suffer like the rest of us!!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And no book recommendations either.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Know your scales thoroughly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "12 majors at least.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Harmonic minors would be next.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All without reference to the black and white keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Before starting any sight-reading of a piece, play through its key scale several times", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- this gets your head and fingers in the zone of that key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Concentrate on one hand at a time initially.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Remember there are two aspects involved in early sight reading - rhythm and melody.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Split them, starting with the rhythm part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tap out the rhythm of the notes, a few times so it's internalised.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Almost learned if you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You're learning to sight-read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Only then try playing the tune, which will fit better over the rhythm you've established.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With no music, try to feel how far a stretch various intervals are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "M3,m7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", P5 etc.using different fingers in different keys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Take some time trying out sight singing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keep to mainly white note keys initially.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Give yourself the occasional note as a check, and work through a single line melody slowly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I've always said if you can sing it, you'll play it more easily.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A few ideas out of many.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just practise sight-reading every day, and it'll get better.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gradually or quickly - we don't know!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } } ]

{ "question": "Are there any recipes/shortcuts that can train a piano self-learner into being able to sight-play, at least simple pieces? How to overcome the difficulty of constantly checking the keyboard while reading notes?", "title": "recipes of piano sight-play for a self-learner", "forum": "music.stackexchange.com", "question_tags": "<piano><sight-reading>", "link": "music.stackexchange.com/questions/94708", "author": "music.stackexchange.com/users/66003/feynman" }

[ [ "Learn to orientate yourself on the keyboard blindfolded using orientation exercises without sheet music but while singing the notes you are playing. Another way is to read the sheet music and playing it bar by bar and memorizing the keys and notes. ", "Learn to know the keyboard like driving your car. " ] ]

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[ 7 ]

[ [ "Learn to know the keyboard like driving your car. Find all 3 black keys (all octaves), in the same way. All EF and BC (the white semitones), all D (between the 2 black) all DC, triads and scales. Another way is reading and playing bar by bar or phrase by phrase; memorizing the keys and notes, seeing and blind, but always listening. At the end you can play the piece by heart." ] ]

[ { "sents": [ { "text": "In some sense, any modifications of the waveform \"makes one instrument sound like another\" think of all of the effects pedals used by electric guitarists.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "More specifically, various flavors of fuzz pedals give results that start to resemble horns or strings, c.f. Even if they don’t accurately capture \"the real thing\",", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "at the very least it's somewhat evocative of a different instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In more recent times, there are more direct modeling approaches, mostly by EHX to make guitars sound like other instruments in a passable manner, e.g.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2639/Dave", "score": 6 } }, { "sents": [ { "text": "Yes, you can modify the waveform.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it might not make it sound like another instrument as much as you hoped.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A surprising amount of the 'sound' of an instrument is contained in the attack portion of the note, the complex waveform before the relatively consistent waveform of the sustain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is why the 'hybrid' synthesis of instruments like the Roland D50 and Yamaha SY range was", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so successful - a short sampled attack was combined with a synthesized sustain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And why the facility to draw a waveform on the screen of a Fairlight was not all that useful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When turning one instrument into another, replacement of the attack will be more important than modifying the sustain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 5 } }, { "sents": [ { "text": "Izotope Iris 2 is a vst/AU plugin that has a “spectrogram” which allows you to edit the transients and shape of any waveform.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is multi-Timbral and has 4 Sampling engines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can load the respective samples and blend the waveforms.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The editing tools are unique as you edit the waveform with graphical tools such as paint, lasso, erase, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/52672/nexogen.io", "score": 3 } }, { "sents": [ { "text": "It is not strictly necessary to use post-processing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I heard a skilled violinist play a short tune in double-stops that sounded almost exactly like a bagpipe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A 'very non-skilled' soprano sax sounds like an oboe with a bad head cold :-) .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and there composers have written parts for 2 or 3 woodwinds such that the combined output sounds like some other (usually wind) instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/6275/Carl Witthoft", "score": 3 } }, { "sents": [ { "text": "It's certainly possible to morph from one sound to another - this can be done using a technique as simple as cross-fading samples, or by doing an additive resynthessis of each sound and slowly changing from one spectrum to another.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Bear in mind that even the sound of a single instrument isn't defined by a single waveform or spectrum - most instruments' spectra change over time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 2 } } ]

{ "question": "An instrument's distinctive \"sound\" comes from its timbre which comes from its various harmonics and these in turn affect the shape of the waveform. As such, I feel like it would be possible for software to be used (fourier transform?) to modify one instrument's waveform to resemble another instrument's shape and thus \"sound\" like it. Not sure if anyone here has any experience with this", "title": "Is it possible to modify an instrument's waveform to sound like another?", "forum": "music.stackexchange.com", "question_tags": "<software><tone><harmonics>", "link": "music.stackexchange.com/questions/95186", "author": "music.stackexchange.com/users/66298/Nicholas Xie" }

[ [ "It's certainly possible to morph from one sound to another - this can be done using a technique as simple as cross-fading samples, or by doing an additive resynthessis of each sound and slowly changing from one spectrum to another. Bear in mind that most instruments' spectra change over time.", "It's certainly possible to morph from one sound to another" ] ]

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[ 7 ]

[ [ "It's certainly possible to morph from one sound to another. Bear in mind that even the sound of a single instrument isn't defined by a single waveform or spectrum. Most instruments' spectra change over time." ] ]

[ { "sents": [ { "text": "...Take the progression Am", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F C G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That list of chords doesn't determine a key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Those chords as a bunch of tones could match the key signatures of A minor or C major... or you could even say it's in F where the G chord is a secondary chord, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The real point of putting Roman numerals on the chords it to say what key the chord are in!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "IMO it's more important to say what the key is than exactly which chords are used, because key structure is paramount in understanding compositional form.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Put a key label with the Roman numerals...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Am:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i VI III VII or C: vi IV I V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, you need to consider one other important point.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The traditional way to define a key is with a dominant chord , and the clearest way to do it is a progression from a dominant to tonic chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, you would want either Am: V I or C: V I somewhere in the music to make a clear case for a key actually being established.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you don't establish a key with a dominant to tonic the music can be described as non-functional harmony .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That sounds bad, but it isn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's simply a harmonic description.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lots of pop & rock music is non-functional.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, when the harmony is non-functional - lacking a clearly defined key - it sort of become irrelevant which Roman numeral labels you use.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 2 } }, { "sents": [ { "text": "My rule of thumb is: is the tonal centre of the song Am ?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Stick to i VI III VII .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Does the song start in the relative major key for instance ( C in this case), then feature this passage?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then stick to vi IV", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I V .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See Hallelujah by Leonard Cohen , the verse is in the major key (starts with the I/vi vamp, then explicitly says it goes like this, the 4th the 5th ...), and goes vi/IV in the chorus.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35439/moonwave99", "score": 1 } }, { "sents": [ { "text": "Depends if you choose to relate it to the key of C major or A minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you choose A minor - and if A is established as the tonic you probably should - there's then the additional question of whether to call C III or &flat;III.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know which I prefer - after all, if you call C III, what would you call C&sharp;?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(It COULD happen!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But some people disagree, and it's pointless to brush aside an established practice as merely 'wrong'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "Am F C G - in key Am will make Am i .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "F is VI , C is III , G is VII .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In key C it will make Am vi , F is IV , C is", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I , G is V .", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Usually the telling chord in Am is V - E.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So if the piece has some E chords, it's more likely to be in key Am.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "If not, it'll more likely be key C.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The last chord is also a good clue to the key.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "That's what will be the decider as to how you designate the Roman numerals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's maybe not a good idea to call it a minor chord progression -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "there's ony one in there!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chord progression in a minor key make it clear that it's not in key C!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "-> The axis of awesome 4 chords songs", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your example starts with Am: so this one i VI III VII and it is modal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Compare it with: https://en.wikipedia.org/wiki/I%E2%80%93V%E2%80%93vi%E2%80%93IV_progression", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } }, { "sents": [ { "text": "I'm not sure what the context of your situation is, but if you can make those chords more than a triad (such as adding dominant/minor 7ths, etc.), it could be possible to determine the key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, if: Am -> Am7 F -> Fmaj7 G -> G7 C -> Cmaj7 , then it would definitely be in C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pattern of this in any given major key is: I -> maj7 II -> m7 III -> m7 IV -> maj7 V -> 7 VI -> m7 VII -> (half diminished)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The dominant is a great indicator because it's easier to recognize (in my opinion) and is the only one of its kind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Albrecht Hügli is partially right in his answer, though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This looks like a form of a standard 4 chord progression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It shows up in some form in a large portion of modern songs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that wikipedia page: https://en.wikipedia.org/wiki/I%E2%80%93V%E2%80%93vi%E2%80%93IV_progression", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This chord progression exactly matches the example given for the variation termed the \"sensitive female chord progression\" with the numeral expression \"vi–IV–I–V\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66276/tlake29", "score": 1 } } ]

{ "question": "Quick question, Take the progression Am F C G Would the correct way of writing this in Roman Numerals be i VI III VII Or vi IV I V Thanks", "title": "Roman Numerals for minor chord progression E.g. Am F C G", "forum": "music.stackexchange.com", "question_tags": "<theory><harmony>", "link": "music.stackexchange.com/questions/95490", "author": "music.stackexchange.com/users/66518/blooom" }

[ [ "Am F C G in key Am in Roman Numerals is i VI III VII and In key C is vi IV I V", "In key Am, the telling chord in Am is V - E. " ] ]

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[ 7 ]

[ [ "In key Am, the telling chord in Am is V - E. If the piece has some E chords, it's more likely to be in key Am. If not, it'll more likely be key C. The last chord is also a good clue to the key." ] ]

[ { "sents": [ { "text": "I wouldn't call that a modulation at all, it's a common pop/folk song, mostly in E minor, just with a short visit on the relative major side.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The minor's relative major lives in the same double house, just the next door, and the visit is short, just having a cup of tea, not starting to use the major's fridge or sleeping in the same bed or anything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Modulation would mean a more long-term change.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In other words, even during the G chord, would you say that's home, where your journey ends naturally?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In my opinion, if right after the G chord you play an Em, that's a possible home and could be the end, although a bit surprisingly quick ending.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a few different ways to move harmony around, see my answer to \"How to determine passing chords\" How to determine passing chords If you want to keep the Em and G while still preparing the listener for the D chord in a slightly less abrupt way, put an Am7 before the D in place of the Em.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is \"trick 2\" in the answer linked above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you start changing things, you might try, for example moving a voice down in steps like this, and setting the chords accordingly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is \"trick 1\" in the answer linked above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(A little bit of trick 2 applied as well, in B7 - Em and Am6/F# - B7 - Em.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, that changes many other things as well, like the chord rhythm, which doesn't go One-two-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "THREE One-two-THREE anymore.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And now \"liljor och akvileja\" get quite a different feeling, etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And we don't go to the G major chord at all. :)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 5 } }, { "sents": [ { "text": "The simplest, most effective and most used transition chords are Vs, or V7s.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The dominant of the new 'key'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So here, in Em, D G is unsurprising.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may not even go under the banner modulation, as those other chords at that point are all included within the key Em, so it's hardly that it's gone into G, especially being back in Em after only three bars.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You ask if there's another way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Several.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Going direct from Em to G is one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cm to G works, as does Co to", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G. A basic premise is notes moving a semitone to the new chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The last one does easily - C>B, E&flat;>D, G&flat;>G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "One way (but as Tim notes above) that one can move along the cycle of fifths e-a-D-G.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This may not sound much like a modulation though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(One cannot play notes in the new key that don't occur in the old key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's useful on things like C-G or Ab-d or the like).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To get the G to \"stick\" as a key, one", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "my find it useful to use an extended cadence like A7-D7-G or the like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a short piece like the one posted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These harmonic movements may be \"tonicizations\" rather than complete modulations.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is not enough time to indicate a full modulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 2 } }, { "sents": [ { "text": "This is the best way and quite usual, many minor tunes do this as G is the relative key of em.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "i (em) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ">", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "vi (G) em-D-G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "= vi-V-", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I could also be reached by em C D G (vi IV V I)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I wouldn’t call it a modulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is a short extension to the relative key ... 4 bars later we are back in e-minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "An F#7(#9)(#5) would resolve to G (deceptive cadence)and would keep the melody on top.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Although if you choose to use such a chord it would be important to have a few other similar secondary dominants in your arrangement.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66972/Quintediese", "score": 1 } }, { "sents": [ { "text": "In this case - a simple folk-song style and a modulation to such a closely-related key as to hardly count as a modulation at all - I see no advantage to anything more complicated.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } }, { "sents": [ { "text": "I'm no theory expert in the least.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact I would say novice is a stretch when it comes to theory.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I use this change quite often when noodling around.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I can think to not jump back and forth with the standard walk up & down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Couldn't this be considered", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "iv V", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I progression in Gmajor?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66991/John Thornton", "score": 0 } } ]

{ "question": "In this version they modulate from Em to G by the chords Em-D-G? Is there a better way of doing it?", "title": "With what chords do we modulate from Em to G?", "forum": "music.stackexchange.com", "question_tags": "<harmony>", "link": "music.stackexchange.com/questions/96149", "author": "music.stackexchange.com/users/20754/Hank" }

[ [ " I wouldn't call that a modulation at all, it's a common pop/folk song, mostly in E minor, just with a short visit on the relative major side. Modulation would mean a more long-term change. An F#7(#9)(#5) would resolve to G (deceptive cadence)and would keep the melody on top. Although if you choose to use such a chord it would be important to have a few other similar secondary dominants in your arrangement.", "Modulation would mean a more long-term change. If you want to keep the Em and G, put an Am7 before the D in place of the Em" ] ]

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[ 7 ]

[ [ "A common pop/folk song in E minor has a short visit on the relative major side. Modulation would mean a more long-term change. If you want to keep the Em and G while still preparing the listener for the D chord in a slightly less abrupt way, put an Am7 before the D in place of the Em.", "An F#7(#9)(#5) would resolve to G and would keep the melody on top. Even if you use a chord such as this, it is critical to incorporate a few complementary dominant harmonies.", "In this case - a simple folk-song style and a modulation to such a closely-related key." ] ]

[ { "sents": [ { "text": "Let's try to write out a list.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Leaving out dims on purpose - no help here!).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In key C major - C=I, Dm=ii, Em=iii, F=IV, G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "=V, Am=vi.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In key Am - Am=i, C=III, Dm=iv, Em=", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "v (E=V),", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F=VI, G=VII.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In key Cm - Cm=i, E&flat;=III, Fm=iv, Gm=v (G=V), A&flat;=VI, B♭=VII.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is NO natural minor key .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are natural minor notes, but only minor keys!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Does the list above hold your answer?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Cont...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In key C major, going to key C minor, chord 3 is E&flat;.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, using C major notation, it'll be ♭Ⅲ .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Chord 6 is A&flat;, so it'll be ♭Ⅵ .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "3 major to 6 parallel minor is correct, iii-bVI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "3 minor to 6 parallel major is bIII-vi.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One should establish the correct interval from the tonic when labeling chords with Roman numbers regardless of whether it’s a major or minor key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the key of C (major or minor) the first example is Em-Ab and the second is Eb-Am Also, FYI chords are not generally called “the third chord” but rather “the three chord” or in the case of your first example, “the three minor chord to the flat six chord”.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If a chord is anything other than a major triad it should be identified.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/67196/John Belzaguy", "score": 1 } }, { "sents": [ { "text": "If I understand the question (correct me if I misunderstood), for example in Cm, you wish to go from and E major to an A major chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The way I've seen this notated would be #III followed by #VI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The # before the chord means raise the root and the numerals mean a major chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 1 } }, { "sents": [ { "text": "Let’s say we’re in a-minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You mean: III(a-minor) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C -> bVI of parallel key (A-major) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F your question: iii (A-major) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "c#m ->", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "bVI of parallel key (a-minor) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "your question: Is this bVI F-major or f-minor chord?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As you change from A-major to a minor bVI = f,a,c = bVI -> F-major chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } }, { "sents": [ { "text": "This question illustrates perfectly the sort of muddle that is caused by labelling the three triad of a minor scale III rather than &flat;III.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "A minor 3rd is still a minor 3rd whatever scale it occurs in.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's &flat;III in my book.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, people DO use the convention of calling Eb &flat;III in a C major context, III in a C minor context.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "All I can advise is to make it clear which convention you're using.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Illustrating a discussion with notated examples can help.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "(Also, is there some confusion between 'parallel major' and 'relative major'?)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } } ]

{ "question": "If I'm in a major key and I have a progression from the three chord to the six chord borrowed from the parallel minor (modal mixture) I would go: iii bVI But if I was in a natural minor key scale and I want my progression to go from the three chord to the six chord borrowed from the parallel major then would it be: bIII vi or would it be: III vi <-- because isn't the three chord in a minor scale generally considered III?", "title": "How to notate a borrowed chord if you're in a key other than major?", "forum": "music.stackexchange.com", "question_tags": "<roman-numerals>", "link": "music.stackexchange.com/questions/98074", "author": "music.stackexchange.com/users/None/" }

[ [ "This question illustrates perfectly the sort of muddle that is caused by labelling the three triad of a minor scale III rather than &flat;III. A minor 3rd is still a minor 3rd whatever scale it occurs in. All I can advise is to make it clear which convention you're using. ", "Make it clear which convention you're using, and Illustrating a discussion with notated examples can help. " ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [ "(Also, is there some confusion between 'parallel major' and 'relative major'?)" ] ] }

[ 7 ]

[ [ "Minor 3rd is still a minor 3rd whatever scale it occurs in. People use the convention of calling Eb &flat;III in a C major context. Make it clear which convention you're using, and Illustrating a discussion with notated examples can help. " ] ]

[ { "sents": [ { "text": "It's towards the dusty end, but barre 10th fret, and finger 12th", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "fret 5th string, and 12th fret top string gives the 9th part of the chord.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "So Dm barre there,(with 12th fret 4th string if you want", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": ", otherwise it's Dm7) and Dm9 follows easily.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 0 ] ] }, { "text": "EDIT: an alternative - similar to the chord window in the question, but maybe not easy", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "fo you, would be very much like D9 where evrything is in 5th fret, except 4th fret 4th string (quite an easy chord to finger), but move the 4th string from F&sharp; down to 3rd fret, giving the m3 of F&natural;.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But getting to it from where?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe 5th fret barre Am shape?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "Do you really need the 7th?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If not, could you use this inverted m9(no 7)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(or m add 9): or even this sus2:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/18896/topo Reinstate Monica", "score": 3 } }, { "sents": [ { "text": "Use the open E for the 9th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dm : x5776x Dm9 :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "x5x560 (leave out the 5th)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How about- Dm11 : x57060", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a nice idea to combine one or two open strings with stuff.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's an etude x57060 8x7060 7x7760 6x7760 6x5760 5x5760 5x5660 3x3330 3x2330 1x2230 x13230 3x2330 x02330 x08680 x57460", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 3 } }, { "sents": [ { "text": "That depends on a few factors.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like whether or not you want all notes in the voicing, whether the style of the song is folk or rock versus Jazz.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "I personally have no problems with the fingering (x, 5, 7, 7, 6, x) to", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(x, 5, 3, 5, 5, x) which would require a shift back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Another option is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(x, x, 3, 2, 3, x)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "or (x, 0, 3, 2, 3, x) to (x, 5, 3, 5, 5, x)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could even use (x, 5, 3, 2, 3, x) if you can grab it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lastly if you want an open string tone and feel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(x, x, 0, 2, 3, 1) to", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(x, x, 3, 2, 3, 0) or (x, x, 0, 2, 3, 0)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "if you don't mind the ambiguity of not having the 3rd.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An more obtuse voicing might be, (x, x, 0, 2, 3, 1) to (x, x, 2, 2, 3, 1)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 3 } }, { "sents": [ { "text": "It really depends on the style you are playing, e.g. full strums vs fingerpicking.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "On top of existing answers, you can play Dm7 either ways: x5356x , with the minor 3rd on top; x5353x , with the root on top .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You bar on the 3rd fret with the 1st finger, so you are basically playing a G7sus4 on 3rd position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Drive by Incubus makes exactly that", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(but in Em) by the way!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35439/moonwave99", "score": 2 } }, { "sents": [ { "text": "you also got the strechy voicing of Dm-add9 Dmadd9x57975to Dmx57755 or Dm9x5355x", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "toDm/fx877710x way up:Dm9/cxx10101012to Dm/cxx10101010", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/68484/Favio Villaseñor", "score": 1 } } ]

{ "question": "I'm playing a song that goes Dm to Dm9. Moving from either open Dm or fifth-string bar Dm to the pictured Dm9 shape feel pretty awkward. Is there a better shape or fingering? I imagine Dm->Dm9 in any key can't be too uncommon.", "title": "How to finger Dm -> Dm9?", "forum": "music.stackexchange.com", "question_tags": "<guitar><fingering>", "link": "music.stackexchange.com/questions/98081", "author": "music.stackexchange.com/users/47563/Anna" }

[ [ "It really depends on the style you are playing, e.g. full strums vs fingerpicking, but barre 10th fret, and finger 12th fret 5th string, and 12th fret top string gives the 9th part of the chord. So Dm barre there,and Dm9 follows easily.", "It really depends on the style you are playing" ] ]

{ "rel_sent_not_in_cluster": [ true ], "cluster_sents_not_matched": [ [] ] }

[ 7 ]

[ [ "It's towards the dusty end, but barre 10th fret, and finger 12th fret. So Dm barre there,(with 12th tighten 4th string if you want 4th fret), otherwise it's Dm7) and Dm9 follows easily. It really depends on the style you are playing" ] ]

[ { "sents": [ { "text": "The first solution is correct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The slur should start at the beginning of the first note under the slur.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second solution is difficult to sight read.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems ambiguous at first glance, and it is only with careful analysis that one realizes that it isn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll try to remember to edit this answer to cite some examples of this notation sometime in the next couple of days.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2257/phoog", "score": 7 } }, { "sents": [ { "text": "In such a situation you should set the slur above the system to make it better readable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But there are other alternatives:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The slur could end on an other syllable in the next bar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The time could be notated in 4/4 and with triplets: in this bar you’d have just a dotted half-note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Edit: As you say below your question the slur is underlying the word ye-ni , what means long year .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So I wouldn’t interrupt the phrasing of this word, as it would be 2 short years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(S. my comment above).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The slur must end at the last note of the 2nd syllable of ye-ni to make sense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 3 } }, { "sents": [ { "text": "A tie simply gives the opportunity to make longer notes than are available, or need to go across a bar line.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A slur 'joins together' a series of notes, (which are usually not the same pitch), that would then be played 'all in one breath'.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Since what you show isn't even the full word, it might be better still to make the slur curve between the beginning and end syllables.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, if you only want the first part to be slurred, you're joining all the notes from the first utterance of 'y', not the end of it, so the second example isn't good anyway.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The first is fine for as far as we can see, but bear in mind my earlier thought.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 1 } }, { "sents": [ { "text": "Certainly not the second example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first is correct.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe putting the melisma (one syllable, several notes)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "slur on top would be clearer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 1 } }, { "sents": [ { "text": "The first solution is most correct, although the slur could be placed above the note stems instead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The second solution may appear to performers to be a typo, and interpretation of the composer's intent may be debated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That aside, I'm wondering why you need to slur a note that's held across a single syllable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If a breath should be taken in the middle of the syllable after the C#, perhaps a breath mark would suffice better than ending a slur (assuming the note after the C# holds the same syllable).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "The end of a slur in the middle of a held syllable across notes may also be open up to interpretation by the performers as they won't know whether to take a breath or keep the syllable held as they normally would have.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "So for this instance I'd say don't use a slur or if anything use a breath mark where intended.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63789/Chris", "score": 1 } }, { "sents": [ { "text": "If more than two notes are tied together, there should be a separate tie connecting every note but the last to its successor.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "If more than two notes are slurred together, however, they should generally all use one slur unless layout considerations force them to be placed separately", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 2 ] ] }, { "text": "(e.g. if a slurred passage doesn't fit on one line).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although not all engravers are consistent with this, it is useful to place ties between the notes being connected, while slurs should extend between points that are above and below the notes in question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one makes ties and slurs visually distint in that manner, there will be no confusion about whether something is a tie or a slur.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise, if has a curved mark which connects a point above or below a note that has an accidental with a note on the same staff position in the next measure, it may be unclear whether it's a tie that extends the duration of a note that sustains the altered pitch, or a slur which connects an altered note in one measure with an unaltered note in the next.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If ties are placed horizontally between notes, then ties and slurs would be recognizable as different.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/5603/supercat", "score": 0 } } ]

{ "question": "I'm writing a choral piece in 12/8 where the basses have a dotted quarter C, tied to a dotted half, tied to a dotted quarter, and then slurred to a C# - all while on the same syllable. How should I configure the slurs and ties to best show this: Like this? Or like this? Thanks!", "title": "How to configure slur with tie when writing choral music?", "forum": "music.stackexchange.com", "question_tags": "<notation>", "link": "music.stackexchange.com/questions/98858", "author": "music.stackexchange.com/users/69019/Peter" }

[ [ "What you show isn't he full word. So, it might be better to make the slur curve between the beginning and the end syllables. However, if you only want the first part to be slurred, you're joining all the notes from the first utterance of 'y', not the end of it, so the second example isn't good anyway.", "If more than two notes are slurred together, they should all use one slur" ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [ "That aside, I'm wondering why you need to slur a note that's held across a single syllable." ] ] }

[ 7 ]

[ [ "A slur 'joins together' a series of notes, that would then be played 'all in one breath' A tie simply gives the opportunity to make longer notes than are available, or need to go across a bar line. Since what you show isn't even the full word, it might be better still to make the slur curve between the beginning and end syllables.", "Why you need to slur a note that's held across a single syllable. If a breath should be taken in the middle of the syllable after the C#, perhaps a breath mark would suffice. The end of a slur in the midst of a held syllable across notes may also be open up to interpretation by the performers.", "If more than two notes are slurred together, they should all use one slur, unless layout considerations force them to be placed separately." ] ]

[ { "sents": [ { "text": "Without researching the matter (and thus preserving Internet Tradition), I'd say that it's because the input energy to a guitar is a single pluck whereas a violin is bowed giving a continuous energy transfer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pizzicato violins are not as loud a bowed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 35 } }, { "sents": [ { "text": "You are asking for loudness, not volume, correct?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Volume is refering to physical properties (i.e. the amplitude of the sound waves), whereas loudness is the perceived volume which can differ a lot from the actual SPL (sound pressure level), althoug the SPL is still a major factor.", "label": [ 1 ], "label_summ": [ -1 ], "cluster_id": [ [ -1 ] ] }, { "text": "The loudness is also dependent on frequencies and bandwidth of the audio signal.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "One other factor, which can play a significant role, is your ears.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "With age some form of hearing loss occurs.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some people hear certain frequencies much louder than others.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I, for example did a hearing test and found out that I perceive a 2 kHz signal as loudest compared to other frequencies at the same SPL.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I play my electric guitar without an amp, I clearly perceive the higher strings to be much louder than the lower strings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I have a calibrated decibel meter", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I have just run a test: it showed the same dbA value for the lowest and highest string (I know that dbA is different from db SPL but for the sake of this argument, the difference does not play a great role in this situation.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This clearly proves that perceived loudness is highly subjective and it all happens in our brains.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/68420/Matt", "score": 12 } }, { "sents": [ { "text": "According to this post , higher-pitched sounds seem to the human ear to be louder than lower-pitched ones.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In general, a violin is going to be playing in a higher register than a guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/46541/John Doe", "score": 7 } }, { "sents": [ { "text": "The idea, that the the size of an acoustic instrument is an indication of its loudness is somewhat astonishing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It simply effects (based on trustworthy physical laws), that is maximum resonance frequency is in a different range.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So violas are typically likely less loud than violins.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As hinted in my comment, the material of the string can't be neglected either in respect to color of tone and volume, as the pure guitar-based comparison of nylon and steel strings shows.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2600/guidot", "score": 6 } }, { "sents": [ { "text": "How loud an instrument sounds is not determined by its size.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] }, { "text": "It's determined by the amount of coupling between the string (or whatever is generating the tone) and the air around the instrument.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0, 1 ] ] }, { "text": "Compare an acoustic guitar with an electric guitar", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ": They are both of the same size, they both may use exactly the same strings (though they prefer different gauges).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But one is loud enough to sing along (the acoustic guitar)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "while the other can hardly be heard unless you plug it into an amp.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The difference?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The electric guitar is basically a solid slap of wood that's purposefully way too heavy to vibrate significantly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As such, the vibration energy stays in the strings for a longer time, giving the instrument a much longer sustained sound than the acoustic guitar does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The acoustic guitar, by contrast, is built such that the thin planks of wood vibrate along with the strings, so that the vibrations can actually be turned into sound waves efficiently.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The acoustic guitar has a much, much higher coupling between the strings and the surrounding air than the electric guitar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, this coupling is a continuous scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can find guitars that are louder (stronger coupling), and you can find violins that are quieter (weaker coupling) than other instruments of the same sort.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the violin has seen very intensive use as an orchestra instrument where a certain amount of volume is a must.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And a strong coupling is not a problem for a violin because energy is constantly being supplied by the bow: There is no need to sustain a sound for a while.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The guitar, on the other hand, is a plucked instrument, and as such the amount of available energy is fixed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The longer a note sounds, the quieter it gets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the stronger the coupling is, the quicker the note will fade away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which is not what most guitarists want: When they were able to reduce the coupling by relying on electric amplification instead, they almost immediately reduced the coupling to effectively zero in order to get a good, long sustain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56638/cmaster - reinstate monica", "score": 4 } }, { "sents": [ { "text": "If you want to reduce the amount of sound a violin makes then move the soundpost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you want to drastically reduce the amount of sound then remove it altogether (but be careful of the bridge falling down if you do that).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "OK, not a serious suggestion to try on a good violin", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it makes the point that the quality and amount of sound a violin makes is determined by the way the instrument is \"set up\" and in particular the positioning of the soundpost.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "According to Wikipedia : The position of the sound post inside a violin is critical, and moving it by very small amounts (as little as 0.5mm or 0.25mm, or less) can make a big difference in the sound quality and loudness of an instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For non-violinists, the soundpost is a small wooden dowel which is placed (not glued) roughly under the bridge.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When the strings are tuned (i.e. tightened)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "this applies pressure to the soundpost and it performs acoustic coupling with the back of the violin transferring additional sound energy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A guitar doesn't have a soundpost and hence produces less sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58672/Brian Towers", "score": 3 } }, { "sents": [ { "text": "Resonance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Range and bow help too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/69763/Rodrigo B. Furman", "score": 0 } } ]

{ "question": "The violin is comparatively louder than a guitar. This is a surprising fact, given that: the violin instrument is generally smaller than, say, a typical classical or folk guitar, both use strings. In other words, how can such a small instrument as a violin be so loud? Is the fact that the strings of a guitar are pinched compared to the bowed strings of a violin the main and only reason?", "title": "Why is a violin so loud compared to a guitar?", "forum": "music.stackexchange.com", "question_tags": "<guitar><violin><string-instruments>", "link": "music.stackexchange.com/questions/99132", "author": "music.stackexchange.com/users/69187/Michael Baudin" }

[ [ "How loud an instrument sounds is not determined by its size. It's determined by the amount of coupling between the string (or whatever is generating the tone) and the air around the instrument. Loudness is the perceived volume which can differ a lot from the actual SPL (sound pressure level), although the SPL is still a major factor. ", "How loud an instrument sounds is not determined by its size. " ] ]

{ "rel_sent_not_in_cluster": [ true ], "cluster_sents_not_matched": [ [ "Volume is refering to physical properties (i.e. the amplitude of the sound waves), whereas loudness is the perceived volume which can differ a lot from the actual SPL (sound pressure level), although the SPL is still a major factor." ] ] }

[ 7 ]

[ [ "How loud an instrument sounds is not determined by its size. Some people hear certain frequencies much louder than others. Loudness is also dependent on frequencies and bandwidth of the audio signal. With age some form of hearing loss occurs, and your ears can also play a role in how loud you hear. The SPL (sound pressure level) is a major factor in the perceived volume of a sound. The loudness of an instrument is determined by the amount of coupling between the string (or whatever is generating the tone) and the air around it.", "Size doesn't determine the loudness but coupling between strings" ] ]

[ { "sents": [ { "text": "Your hands don't seem extremely small.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's your hand-position that makes things impossible for you.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I can't see your thumb but it seems to be stretched completely to the left, and your wrist is totally straight.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your fingers shouldn't be pressed against each other.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try to bend your wrist a bit, put your thumb behind your middle finger, and let it point upwards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also point the neck of your guitar a bit upwards instead of downwards or parallel to the floor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This should help fix many of your problems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe something like this:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9724/Matt L.", "score": 11 } }, { "sents": [ { "text": "Trying to understand why your fingers slant over like in the picture, I get the impression you may be \"gripping\" the chord with a lot of force squeezing the ball of your thumb onto the back of the guitar neck.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "When you position your hand like in @MattL's photo you should have the tip of the thumb (your thumb print area) on the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may take some time to get used to this position, but eventually when your hand becomes trained it should not take much force.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of your finger position when making a fist compared to wrapping your hand around a tennis ball.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With a fist your fingers collapse against the palm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Holding a ball the fingers are arched away from the palm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You want to fingers more in that arched position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Pay attention to your whole arm and elbow position.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You might try holding your elbow away from your body a bit to get your whole forearm more perpendicular to the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Instead of gripping with just the hand, think of your whole arm sort of pulling back.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm exaggerating things, but it's like pulling your forearm back instead of only gripping a fist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, if are not already playing these embellishment in open position, try that first and then move into the barre chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Barre chords can be tough to play.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you first get your fingers coordinated to embellish with hammers and pull offs in open position, embellishing the barre chords should be easier.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 3 } }, { "sents": [ { "text": "Looking at the tips of your fingers, you are pressing way too hard.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's no blood left in them!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bear in mind with that shape, only 3 strings need pressing hard enough to sound - 5, 3 and 1.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could also do with having the neck higher, the lower it goes, the harder it is to get your hand round.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe also rotate the guitar so the neck isn't parallel to the floor, but the head of the guitar is higher.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That will help the whole of your hand from having to be bent in the way shown in the pic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For tht shape, fingers need to be almost perpendicular to the fretboard, which then brings pinky in line for that 10th fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Maybe the action on the guitar is bad enough for you to have to press really hard - in which case, lower it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Checking dimensions, yes, your hand is small - even smaller than mine, which is not even medium.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Consider looking at other guitars with different profile necks and different radius fingerboards.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 2 } }, { "sents": [ { "text": "Usually I would recommend lighter strings to aid a beginner.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But in this case it looks like your wrist is too bent, forcing your hand to 'claw' the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Try positioning the guitar to allow your elbow to move further away from your body, straightening your wrist.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This will give extra free movement for your fingers to achieve the better position in the photo someone else shared.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It will be difficult and feel unnatural at first, partly because you have to unlearn your existing position.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/69926/Stub Mandrel", "score": 1 } }, { "sents": [ { "text": "Not at all, your hand is good enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The issue is in the angle of the wrist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is not perpendicular to the neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you keep the wrist straight then the pinky finger can get to the 10th fret.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "During my early days, I would try this method.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First practice normal bar chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I pick all strings in a clean way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Next, I reach some higher frets with my pinky finger, keep it there and play clean.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I take of my pinky finger and sound clean.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I then repeat 2 with the pinky fingers and other higher frets as much as I can.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Note not only the requirement is to sound clean, but the requirement is also to hold it quickly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some stretching exercises are surely going to help, before you begin your playing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/69931/Mak2006", "score": 1 } } ]

{ "question": "I’ve been playing guitar for about a year and I’m learning to play RnB style chord embellishments and right now they seem absolutely impossible. Playing an Emin7 and hammering on the 10th fret seems so hard. Any help?", "title": "Are my hands too small for chord embellishments?", "forum": "music.stackexchange.com", "question_tags": "<guitar><technique><jazz>", "link": "music.stackexchange.com/questions/100240", "author": "music.stackexchange.com/users/69889/user69889" }

[ [ "It's your hand-position that makes things impossible for you. I get the impression you may be \"gripping\" the chord with a lot of force squeezing the ball of your thumb onto the back of the guitar neck. Try positioning the guitar to allow your elbow to move further away from your body, straightening your wrist. This will give extra free movement for your fingers to achieve A better position.", "Try positioning the guitar to allow your elbow to move further away from your body, straightening your wrist." ] ]

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[ 7 ]

[ [ "You may be \"gripping\" the chord with a lot of force squeezing the ball of your thumb onto the back of the guitar neck. Try positioning the guitar to allow your elbow to move further away from your body. It will be difficult and feel unnatural at first, partly because you have to unlearn your existing position. If you first get your fingers coordinated to embellish with hammers and pull offs in open position, embellishing the barre chords should be easier." ] ]

[ { "sents": [ { "text": "In a diminished triad the diminished refers to the fifth of the chord and the third in understood to be a minor third.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a diminished seventh chord the diminished refers to the seventh of the chord and the third is understood to be a minor third and the fifth is understood to be diminished.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The names are not a complete list of the intervals of the chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Think of it like the name major scale , not all the intervals in that scale are major, it's just a name, you still need to learn the interval structure.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "To some degree the simple names work because the interval structure is understood relative to the diatonic scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Major/minor triad refers to the third only and the fifth is assumed perfect, because all fifths are perfect except the one above the leading tone, and so the triad built on the leading tone is called diminished referring to the unique fifth in only that one diatonic triad.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In the case of non-diatonic seventh chords, the naming becomes more explicit, sort of listing out intervals.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "For example a minor major seventh chord is a minor triad with a major seventh added.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why do diminished chords have 3rd minor?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because the thirds of the triads built on the leading tone of diatonic scales, or the second degree on minor diatonic scales, are minor thirds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 7 } }, { "sents": [ { "text": "A diminished chord has a diminished fifth , not diminished third https://en.wikipedia.org/wiki/Diminished_triad Diminished third is two semitones", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "https://en.wikipedia.org/wiki/Diminished_third \"root + 3rd diminished + 5th diminished\" ...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "if you play that rooted on the first scale degree, it gives a Lydian'ish sound, because it's enharmonic to something like II 7 / I.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/51766/piiperi Reinstate Monica", "score": 5 } }, { "sents": [ { "text": "Let's say the root is F#, for example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The diminished chord would be F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "# A C. (If it were a diminished 7th chord, it would be F# A C Eb.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The diminished third would be Ab.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That would make the chord F# Ab C (plus Eb if you add the diminished seventh).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That chord exists: it's the German sixth chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/29126/Rosie F", "score": 4 } }, { "sents": [ { "text": "A minor third is unambiguous, and generally accepted to be consonant (\"pleasant sounding\").", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "By using a diminished third, we are dangerously closing in to a non-third-based chord, which are generally regarded as too dissonant for basic harmony (i.e. a different area or level of expertise).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "A diminished third is more similar to a \"second\" interval.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/9563/Hatebit", "score": 2 } }, { "sents": [ { "text": "If we define the triads of all degrees of any scale (minor or major) we have major thirds and minor thirds with perfect fifths: the terms major / minor refer to the lower third.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "Only the seventh degree ti-re-fa (= B,D,F) in a major scale and the second degree of a minor scale se-ti-fa (= G#,B,D) has a diminished fifth -", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "that's why this chords are named \"diminished\": the term diminished refers to the dim.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "5th.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 2 ] ] }, { "text": "(In a chromatic minor scale the 3rd degree can contain 2 major thirds (do-mi-se = C,E,G#).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This triad is named \"augmented\" referring to the augmented fifth (+5 or #5).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Double diminished\" would mean that both intervals (3rd and 5th) are diminished:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "double diminished refers to the third and the fifth!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(so double means that both intervals are diminished ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 1 } }, { "sents": [ { "text": "There isn't always a completely logical reason why things are named as they are.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A diminished triad has minor 3rd and diminished 5th A diminished 7th chord has minor 3rd, diminished 5th and diminished 7th.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I suggest you accept this and move on!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A diminished 3rd is theoretically possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(So is an augmented 7th.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But they sound so like a major 2nd (and an octave) that there's rarely any point in spelling them that way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And I don't think you'll gain anything from worrying about such extreme cases.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Root, diminished 3rd and diminished 5th (C, E&flat;&flat;, G&flat;) will be heard as C, D, F&sharp;, a bare-bones D7.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 0 } } ]

{ "question": "Why do diminished chords have 3rd minor , not 3rd diminished ? and what is the name of this chord : root + 3rd diminished + 5th diminished?", "title": "Why do diminished chords have 3rd minor?", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory>", "link": "music.stackexchange.com/questions/100379", "author": "music.stackexchange.com/users/69992/isac" }

[ [ "S5: Major/minor triad refers to the third only and the fifth is assumed perfect, because all fifths are perfect except the one above the leading tone, and so the triad built on the leading tone is called diminished referring to the unique fifth in only that one diatonic triad. In the case of non-diatonic seventh chords, the naming becomes more explicit, sort of listing out intervals. If we define the triads of all degrees of any scale (minor or major) we have major thirds and minor thirds with perfect fifths: the terms major / minor refer to the lower third. Only the seventh degree ti-re-fa (= B,D,F) in a major scale and the second degree of a minor scale se-ti-fa (= G#,B,D) has a diminished fifth - that's why this chords are named \"diminished\": the term diminished refers to the dim. 5th", "A minor third is unambiguous, and generally accepted to be consonant. " ] ]

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[ 7 ]

[ [ "Major/minor triad refers to the third only. In the case of non-diatonic seventh chords, the naming becomes more explicit.", "A minor third is unambiguous, and generally accepted to be consonant. By using a diminished third, we are dangerously closing in to a non-third-based chord.", "If we define the triads of all degrees of any scale (minor or major) we have major thirds and minor thirds with perfect fifths. Only the seventh degree ti-re-fa in a major scale and the second degree of a minor scale have a diminished fifth." ] ]

[ { "sents": [ { "text": "I advice you to learn about modal scales and what modal scales fit what chord progressions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many resources about that, in particular in jazz music handbooks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then you can think of the pentatonic as a subset of notes in the scale.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will understand which characteristic notes from the modal scales are present in given pentatonic, and which are omitted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular, in key of Bm Bm pentatonic (b d e f# a) is a subset of B aeolian (b c# d e f# g a), dorian (b c# d e f# g# a) or phrygian", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(b c d e f# g a) scale Em pentatonic is a subset of B aeolian or phrygian scale (so may not work as a substitute for dorian)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F#m pentatonic is a subset of B aeolian or dorian scale ...and there is one more!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Less commonly known for its a bit more exotic sound: C#m pentatonic is a subset of B dorian scale", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63781/user1079505", "score": 3 } }, { "sents": [ { "text": "Here's a web page where you can enter a chord progression and it will show you which parent scales may be used over one or more chords.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "http://www.micrologus.com/tools/online_harmonic_analyzer", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can then use major pentatonic scales instead of regular major scales, and minor pentatonic scales instead of regular minor scales.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/58618/MMazzon", "score": 1 } }, { "sents": [ { "text": "As @user1079505 already commented, the minor pentatonic scale contains all the notes that are common to the minor modes (aeolian, dorian, phrygian).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it all depends on the context (that is, the exact chord progression).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally, if you're playing over a progression in Bm, you would play the Bm pentatonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Regardless of whether your progression is Bm aeolian, phrygian or dorian, the Bm pentatonic would be a good match.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, you will find that the other 2 scales you mention lack important tones (the minor 3rd in the case of F#m and the 5th in the case of the Em).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You could just stick to the Bm pentatonic, and it would be \"fine\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, I would argue that it is not enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will get more variety in your sound if you add some extra notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular, the 2nd and the 6th, which are the notes missing from the pentationic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These 2 will depend on the other chords in your progression, and will determine what mode you're in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, bear in mind what @Tim said about the V chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's an issue you will find when playing in minor modes, whereby you will have to get out of the strict mode, and weave into the harmonic minor scale when you're playing over that one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/44730/mkorman", "score": 1 } }, { "sents": [ { "text": "There are 2 common pentatonic scales, the major and the minor.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Using the major scale degrees as a reference (1, 2, 3, 4, 5, 6, 7), the Major pent is (1, 2, 3, 5, 6) and the minor pent is (1, b3, 4, 5, b7).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "I am not sure of a third but in fact you can create your own 5 notes scales (or 6, or 13 note, ;-)) but removing, adding, altering notes to Do-Re-Mi...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so I might \"know\" other 5 notes scales but don't recall them as \"Pentatonic\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can, for example, play the either of these two 5 note scales starting on another note other than the \"1\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This generates alternate fingering patterns on the guitar which I, and most guitarists, are aware of.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But in fact, if you play the Major pentatonic starting on the last note (the 6) you will be playing the minor pent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is related to the fact the the relative minor scale of any major scale starts on the 6th degree.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "FOr example", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C major pentatonic and A minor pentatonic are the same scale in a sense (same set of notes).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The great value of the 5 note scale has been stated by other answers but bears repeating.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Namely, that there are three related major modes, Ionian, Lydian, and Mixolydian, and three minor modes, Dorian, Phrygian, and aeolean.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "The notes are, respectively, (1, 2, 3, 4, 5, 6, 7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ionian (major) (1, 2, 3, #4, 5, 6, 7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lydian (1, 2, 3, 4, 5, 6, b7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Mixolydian (1, 2, b3, 4, 5, 6, b7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Dorian (1, b2, b3, 4, 5, b6, b7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Phygian (1, 2, b3, 4, 5, b6, b7) =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Aeolean (minor)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The petantonics cover the \"common\" notes among these sets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When choosing a scale to play over a set of chords it helps to be able to analyze the progression to identify a common key, or notate key changes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since all these modes are related if you know one you know them all.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But a short rule of thumb is play the minor pent over minor chords and major pent over major chords.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If all these chords are in the same basic key then matching to the first chord would suffice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll have to use your ear to hit the \"right notes at the right time\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 1 } }, { "sents": [ { "text": "why would you use one [pentatonic scale] over another?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Each pentatonic scale has a tonal center -- a pitch toward which the others are directed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's how the letter-name part of the scale is derived.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So you would either pick a pentatonic scale that has its tonal center in common with the chord you're playing over (say, B minor pentatonic over a B minor chord), or you might choose to play against the chord by choosing a pentatonic that has a contrasting tonal center or perhaps other notes that present dissonances against the bass (say, E major/C# minor pentatonic against a B minor chord).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70803/Aaron", "score": 1 } } ]

{ "question": "Since there are three pentatonic scales that work with any diatonic chord progression, how do you decide which one to use? If I have a chord progression in Bm, I could use Bmin, Emin or F#min pentatonic scales and all the notes will be found in the Bminor scale. What are the differences between those 3 pentatonic scales and why would you use one over another?", "title": "how do you choose which pentatonic scale to use over a progression?", "forum": "music.stackexchange.com", "question_tags": "<scales>", "link": "music.stackexchange.com/questions/101935", "author": "music.stackexchange.com/users/35708/armani" }

[ [ "You can then use major pentatonic scales instead of regular major scales, and minor pentatonic scales instead of regular minor scales. There are 2 common pentatonic scales, the major and the minor. Using the major scale degrees as a reference (1, 2, 3, 4, 5, 6, 7), the Major pent is (1, 2, 3, 5, 6) and the minor pent is (1, b3, 4, 5, b7). ", "Here's a web page where one can enter a chord progression and it will show you which parent scales may be used over one or more chords. http://www.micrologus.com/tools/online_harmonic_analyzer " ] ]

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[ 7 ]

[ [ "Here's a web page where you can enter a chord progression and it will show you which parent scales may be used over one or more chords. http://www.micrologus.com/tools/online_harmonic_analyzer ", "There are two common pentatonic scales, the major and the minor. The Major pent is (1, 2, 3, 5, 6) and the Minor pent is b3. There are three related major modes, Ionian, Lydian, and Mixolydian." ] ]

[ { "sents": [ { "text": "In addition to the other correct answers here... It's the third mode of the Lydian dominant (or Acoustic) scale.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Lydian dominant =", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C - D - E - F# - G - A - Bb - C = WWWHWHW", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Thus the third mode = E - F# - G - A - Bb - C - D - E = WHWHWWW", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Or, transposed: C - D - Eb - F - Gb - Ab - Bb - C", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's also called the Half-diminished scale ().", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70803/Aaron", "score": 5 } }, { "sents": [ { "text": "C D Eb F", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Gb Ab Bb", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's 6th mode of melodic minor scale (it has the same notes as Eb melodic minor).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63781/user1079505", "score": 4 } }, { "sents": [ { "text": "Putting the notes into a better known order gives the melodic minor, rising (or the jazz melodic minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E♭ F G♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭ B", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C D.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Keeping the same order but starting on its 6th note gives a mode of that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "C D E♭ F G♭", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A♭ B♭.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This mode has a couple of names - Aeolian ♭5 and Locrian ♯2 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 3 } }, { "sents": [ { "text": "The bottom of your question has been answered correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just to help and give some additional information referring to your comment: I fiddle with keys and not really study the theories and relationships behind them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I might be lacking the terminology to search for .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The lacking term you have to look for is: the modes https://en.wikipedia.org/wiki/Mode_(music) and if you are interested in modern scale theory: https://en.wikipedia.org/wiki/Jazz_scale", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 2 } }, { "sents": [ { "text": "I know this scale as \"locrian ♮2\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/67172/Gregorian70", "score": 1 } } ]

{ "question": "I'm looking for a name for the minor scale with a flattened fifth note. WHWWHWW -> WHWHWWW C min: C D Eb F G Ab Bb; C ???: C D Eb F Gb Ab Bb The closest my searching has come to an answer was this SE:PT question of the same name (and yet not the same question?).", "title": "Name for minor scale with flat fifth", "forum": "music.stackexchange.com", "question_tags": "<scales>", "link": "music.stackexchange.com/questions/101960", "author": "music.stackexchange.com/users/70571/BMF" }

[ [ "It's the third mode of the Lydian dominant (or Acoustic) scale. It's also called the Half-diminished scale.", "Lydian dominant" ] ]

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[ 7 ]

[ [ "It's the third mode of the Lydian dominant (or Acoustic) scale. Lydian dominant = C - D - E - F# - G - A - Bb - C = WWWHWHW. Thus the third mode = E - F# - G - A - Bb - C - D - E = WHWHWWW " ] ]

[ { "sents": [ { "text": "Your 1st example is an improvisation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With improvisation, how does one tell if a note is 'wrong'?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You ask 'is it o.k. to hit a wrong note?'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I counter with 'what constitutes a wrong note?'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one is playing something like a classical piece from the dots, and trying to re-create it exactly, then yes, it's wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one is playing most other sorts of music, and happens to hit a completely out-of-key note, yes, it's wrong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If one is playing most other sorts of music, and happens to hit a note which works - how does anyone know whether in fact it actually was a 'wrong note'?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 11 } }, { "sents": [ { "text": "Wrong notes are never \"okay\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even as a total beginner it's very important to try to play all the right notes", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you're ingraining the right ones into your fingers and your brain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Professionals of course try to reduce wrong notes to almost zero, but absolute perfection is almost unobtainable.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you are improvising, it's a different story: there are no 'wrong' notes, only good or bad choices, but you should still try to avoid choosing 'bad' notes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/40545/PiedPiper", "score": 7 } }, { "sents": [ { "text": "At orchestral concerts mistakes are rare.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "That's 80 musicians playing at least 90 minutes of music without a mistake.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "You can't have an off day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But an occasional wrong note from the soloist in a fast movement of a concerto is accepted, as long as his/her performance is exciting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Orchestral musicians prefer a principal French horn who plays freely and dangerously, even if that means an occasional split note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When a jazz musician is improvising and hits a wrong note they can often cover their tracks by embracing that note and convincing you", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "they meant to do that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This trick is unavailable to classical musicians.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Feel is valued over accuracy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And that's also true of folk musicians, though folk audiences aren't even that bothered about feel!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In standard pop music, the stuff's so goddam easy to play there", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "really shouldn't be any wrong notes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63087/Old Brixtonian", "score": 4 } }, { "sents": [ { "text": "You should aim to play all notes correctly.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is not everything, but it is important.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "If you miss notes often, practice slower.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It pays off.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Professionals circumvent situations in which they play wrong notes.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "They even practice for this.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is a second stage.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/64288/Andre", "score": 3 } }, { "sents": [ { "text": "Could it be you mean e.g. someone plays Imagine by John Lennon and instead of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the triad ge-c", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he adds a d?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This wouldn’t mean that he plays a wrong note!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The d is the 9th in the tonic chord ceg and gives an additional color to the music, but in the ear of a beginner it might sound weird.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There’s a typical honky tonk piano style to add chromatic approaches (#9 with the 3rd=10) in jazz and blues but also in modern classic compositions like Prokofiev’ Peter and the Wulf or Bernsteins Westside Story (Ouverture, Sgt.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Krupky, The Rumble).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "P.S.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I haven’t listen to your examples.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it could be that this is a wanted effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 3 } } ]

{ "question": "As a beginner, I try to do my best to play exactly the notes as in the sheet music but sometimes I see some professionals hit accidentally some notes, two examples: The wrong note was D when he wanted the C with left hand (the notes in the video are shifted by one note to the right): Or here when he hits the C# the second time with the left hand: My questions are how a professional can hit wrong notes frequently and is it okay?", "title": "Is it okay to hit wrong notes?", "forum": "music.stackexchange.com", "question_tags": "<piano>", "link": "music.stackexchange.com/questions/103673", "author": "music.stackexchange.com/users/66246/Ja_cpp" }

[ [ "Professionals of course try to reduce wrong notes to almost zero, but absolute perfection is almost unobtainable. At orchestral concerts mistakes are rare.", "If improvising, there are no 'wrong' notes, only good or bad choices." ] ]

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[ 7 ]

[ [ "At orchestral concerts, mistakes are rare, so musicians should aim to play all notes correctly. If improvising, there are no 'wrong' notes, only good or bad choices, but you should still try to avoid choosing 'bad' notes. Professionals try to reduce wrong notes to almost zero, but absolute perfection is almost unobtainable." ] ]

[ { "sents": [ { "text": "If we need to analyse a work written strictly in Am , I think VI and VII are clear enough.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If there is a modulation between Am and A , and we want to keep A as root, I would use ♭VI for F and VI for F# .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same if any modal interchange occurs, e.g.: A F#m F GI vi ♭VI ♭VII", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Regarding the occurrences of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F# and G# as chord roots, it really depends on the context - usually F# would appear in D first inversion (so IV/6 ) or as V/V/V , while G# would be in V/6 or in viio .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If both G AND G#dim join the game, I would use VII and #viio respectively.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/35439/moonwave99", "score": 5 } }, { "sents": [ { "text": "Usage varies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But I'd suggest that the only unambiguous method is to name chords, whether as chord symbols or Roman numerals in relation to the major key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether the key is C major or C minor, C,E,G is 'C', C, E♭,G is 'Cm'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Similarly, C,E,G is 'I', C,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E♭,G is 'i'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "B♭, D, F is '♭VII', B♭, D♭,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "F is '♭vii'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There will be disagreement about this!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/17003/Laurence Payne", "score": 2 } }, { "sents": [ { "text": "I think it's important to remember a vital distinction here: an accidental before the Roman numeral applies to the root of the chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "An accidental after the Roman numeral is figured bass.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So in A minor, F major is VI, because F is scale-degree 6 in A minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Only in A major would we need to clarify this F-major chord as ♭VI (or ♮VI if we want to be really fussy).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "♭VI in A minor would actually be F♭ (=", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But neither one of these is to be confused with VI ♯ in A major, which would be an F♯-major chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here the accidental applies to the third above the bass, thereby making this a collection of {F♯, A♯, C♯}.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21766/Richard", "score": 2 } }, { "sents": [ { "text": "It really depends on the convention one adopts.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Some music theory symbols are pretty standard, but one sees variances among textbooks, theorists, and the style they are analyzing.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I'd say the most standard pattern in American \"classical theory\" textbooks of the past 40-50 years is to assume in A minor that VI means F major, VII means G major, and vii o means G♯dim.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I've seen some textbooks that tack on a flat or natural to VII (i.e., ♭VII or even ♮VII to accord with the key signature) to refer to G major, but most books probably omit it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In classical theory, a chord on the seventh scale degree is just assumed by default to be built on the subtonic if major and on the leading tone if diminished.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, that assumption may not be true of pop/jazz theory books, where Roman numerals with accidentals are more commonly employed and there are fewer assumptions about the implications and function of Roman numerals.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For the sixth degree, VI in minor is just assumed in classical theory to be built on the minor sixth scale degree, so no accidental is necessary.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In fact, as Richard points out, putting a flat on it could confuse some people -- though again, I think that's dependent on convention.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm pretty sure I've seen at last one book (I think in pop or jazz theory)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that assumed the major scale was the scale, so any deviation from it was notated with an accidental.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thus ♭VI would be necessary to designate F major in that system for any key or mode based on A.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(I'd personally avoid using a symbol like ♭VI in a minor key, to avoid confusion, but again it depends on the convention you're working with.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the end, I agree with Laurence Payne: if you want to be absolutely clear what chord you're referencing and the specific notes, use a chord symbol (like Fmajor) rather than a Roman numeral.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Roman numerals are a shortcut to designate function ( not just label chords, though many people confuse this), and the function of a VI or VII or whatever should be pretty clear from context.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/63809/Athanasius", "score": 2 } }, { "sents": [ { "text": "I learned the classical way of naming chords and also a more modern way which I prefer where everything is literally spelled out in relation to the root note of the keys regardless of whether it’s major or minor.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are no small letters and all relationships are spelled out like the way intervals are named.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Examples:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Diatonic major chords: I IIm IIIm IV V VIm VIIo Eb in the key of either C or Cm:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "bIII Amaj7 in the key of G or Gm: IImaj7 Em7b5 in the key of D or Dm: IIm7b5 Fmaj7 in the key of E or Em:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "bIImaj7", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I prefer this method because there is no doubt as to what the interval from the home key or what the quality of the chord is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/67196/John Belzaguy", "score": 1 } } ]

{ "question": "We know that in minor keys the 6th and 7th notes can be 'basic' or a semitone higher. By 'basic', I mean they obey the key signature. So, in key Am, would chords F and G be better portrayed as VI and VII, or as ♭VI and ♭VII respectively? Or is there a more accurate, less ambiguous way?", "title": "Specific Roman Numeral naming for chords F and G in key Am", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-theory>", "link": "music.stackexchange.com/questions/104397", "author": "music.stackexchange.com/users/2808/Tim" }

[ [ " I'd say the most standard pattern in American \"classical theory\" textbooks of the past 40-50 years is to assume in A minor that VI means F major, VII means G major, and vii o means G♯dim. While, For the sixth degree, VI in minor is just assumed in classical theory to be built on the minor sixth scale degree, so no accidental is necessary. ", "A minor VI means F major, VII means G major, and vii o means G♯dim. " ] ]

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[ 7 ]

[ [ "The most standard pattern in American \"classical theory\" textbooks of the past 40-50 years is to assume in A minor that VI means F major, VII means G major, and vii o means G♯dim. " ] ]

[ { "sents": [ { "text": "To add a bit to the other answers, the minor dominant is fine in a minor (or major) key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pattern v-i does not have the same cadential effect as V-i.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Many composers use v rather than V in non-cadential progressions; one example is a repeated cycle of fifths in a minor key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One often sees i-iv-VII-III-VI-ii0-v-i-iv-VII-III-VI-ii0-V7-i.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For that matter, most minor fugues go to the minor v and use the V chord in cadences.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Your sequence looks fine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a bit like the minor version of the Romanesca (Pachelbel's Canon) sequence.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a major key one gets I-V-vi-iii or I-V-vi-I64 or I-V-vi-I63 (the V and iii are often in first inversion so the bass line moves downward by steps.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In a minor key, the sequence would be i-v6-VI-III6 which (to me) seems smoother as the iii chord is not that \"strong\" sounding in a major key.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The main point of the V or V7 (or vii0 or vii06 or inversions) in a major is to proceed to the tonic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Using v or v6 (and VII for that matter) often sounds better (at least to me again) in non-cadential progressions (and makes the cadences stand out, if that's wanted.)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 5 } }, { "sents": [ { "text": "Firsttly, get rid of the notion that there's a natural minor key .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There isn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are minor scales , including the natural minor, but a minor key can and does have several different incarnations.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's probably more common to have the dominant chord in a minor key as a major (or dominant seventh), but there's nothing wrong with using the minor chord in its place.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Listen to Black Magic Woman.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's an example.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All that apart, if you think it sounds good, use it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It won't be wrong - there really are few 'wrongs' in music - those that are usually stick out like the proverbial sore thumb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While you're learning theory, always bear in mind it tries to explain what happens far more than trying to provide a set of 'rules'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They really become known as 'rules' because they are heard to work well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/2808/Tim", "score": 4 } }, { "sents": [ { "text": "You can use anything.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "In music, all rules are made to be broken.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Analysing you chord progression, they have all 7 notes of the C Major Scale.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "So, yes, it makes sense theoretically.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "If you want to stay 100% on A Minor Scale, change the G notes for G#.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "The chord progression will be this: Am,", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "E, E/G#, Dm Where E/G# is the first inversion of E Major chord.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70920/Paulo Henrique", "score": 2 } }, { "sents": [ { "text": "After all that mess I made previously, guess I finally understood your doubt, Jordan.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beg my pardon.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's analyse your chord progression note by note: Am:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A, C,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E Em:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "E, G", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", B G:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "G, B, D Dm(maj7):", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "D, F, A, C#", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As we hear chord by chord, we get an expectation that is not fullfilled on the 4th chord.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Am and Em chords give us five notes that points towards two possibilities of Major Scales> C major or G major (it will depent if the next chord uses F or F#).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The 3rd chord, G, adds a new note, D, which belongs both to C and G major, so \"there is nothing new\" here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The magic happens on the 4th chord, Dm(maj7).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Its III degree gives us the final clue we needed for which major scale the chord progression is> C major.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But, you added a note that doesn't belong to none of these scales> the C# note.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It made a change of sensations, but somehow it doesn't sound so awkward.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'll give my 2 bets on the next reply below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/70920/Paulo Henrique", "score": 1 } }, { "sents": [ { "text": "When you bring up \"functional harmony\" and \"major dominant\" in minor those are concepts from common practice style harmony, so-called \"classical\" music.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But these are the conventions of that particular style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While they are normal in that style they aren't required in other styles.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A progression like i - v - VII - iv reminds me of", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I V vi IV in rock music where functional dominant harmony (a true major dominant chord moving to the tonic) is deliberately avoided and part of the style.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "FWIW, in such progressions where you can identify three primary chords (tonic, subdominant, dominant)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it should sound very tonally solid and you can order the chords just about any way you like.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are trying to work within a particular style, follow the conventions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Otherwise do whatever you want.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Make a new style, make hybrid styles.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23919/Michael Curtis", "score": 1 } } ]

{ "question": "I'm currently studing and learning about functional harmony and chord progressions. I tried the chord progression i - v - VII - iv (A natural minor scale : Am - Em - G - Dm7/A) and get a nice and melancolic mood, for my ears. But I don't really know if this chord progression make sense tecnically. It's normal to use a Minor dominant in a natural minor key? Or should I use an Major dominant to turn the scale harmonic?", "title": "Can I use the chord progression i - v - VII - iv? (Am - Em - G - Dm : in A minor scale)", "forum": "music.stackexchange.com", "question_tags": "<chords><chord-progressions><functional-harmony>", "link": "music.stackexchange.com/questions/104424", "author": "music.stackexchange.com/users/71713/Jordan Zaghi" }

[ [ "It makes sense theoretically. Analysing your chord progression, they have all 7 notes of the C Major Scale. If you want to be precise on A Minor Scale, change the G notes for G#.", "In music, all rules are made to be broken" ] ]

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[ 7 ]

[ [ "A minor key has have several different incarnations. It's probably more common to have the dominant chord in a minor key as a major (or dominant seventh)", "You can use anything. In music, all rules are made to be broken. So, yes, it makes sense theoretically. If you want to stay 100% on A Minor Scale, change the G notes for G#." ] ]

[ { "sents": [ { "text": "I learned the treble clef first by a long way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I learned it by the mnemonic FACE.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When I eventually came to learn the bass clef I simply used the mnemonic ACEG.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After quite a short while it just became natural.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I didn't ever do any calculations of any kind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I knew that middle C was shared.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Later I connected the lower ledger lines on the treble clef with the upper notes on the bass clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This happened automatically.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My recommendation Don't do any kind of calculation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just learn the lines and spaces as you did when you learned the treble clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21436/chasly - reinstate Monica", "score": 8 } }, { "sents": [ { "text": "Don’t read by adding semitones, this is a wrong way.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You better start reading the bass clef by studying and practicing a piece like this: Mind that the upper ledger lines of the lower system are the corresponding lower lines of the upper system and vice versa.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Study the link", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the comment of guidot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The real cognitive insight is not transposing the names in the system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What you must realize is that the ledger lines c,a,f,d are identical with the lines of the bass system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When understanding this point you are able to read bass, tenor and alt clefs: you don’T have to transpose 3 semitones, you just move the system up and down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/56219/Albrecht Hügli", "score": 4 } }, { "sents": [ { "text": "\"My question is: what is a 'right' cognitive process to read sheet music fluently?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I wonder how one does not confuse reading notes in different clefs.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I am not sure there is a 'right' process, or method.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Some of the methods we are taught as children are, in my opinion, very flawed and create more distraction than actual learning.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The best method is repetition.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "You don't want to have to go through the math every time you change clefs but the more practice", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "you get the sooner the training wheels come off.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I think Albrecht Hugli provided a good answer, though it seems to be down voted.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For me what works is the realization that everything is relative.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "All you really need to do is identify one note on the clef and pair it with your instrument.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A good example is middle C.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then all the other lines and spaces just follow the alphabet (A -> G, repeat).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It really can't get easier than that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sight reading and reading for a specific instrument are different skills.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "On the guitar for example you need to not only read the note but decide which version of it to play since some notes can be found in 3 or 4 places.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can practice reading the notes by letter name out loud independently of finding them on your instrument.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is a good way to eliminate the crutch of \"Every Good Boy Does Fine\", or \"Add three semitones\", etc.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are books out there that recommend just this exercise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Once I started doing that after a short while all other methods just dropped out of my mind", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I just ID", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the letter immediately regardless of clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/50691/ggcg", "score": 3 } }, { "sents": [ { "text": "It's not really wrong but it's better to learn the bass (and alto and tenor a bit later) clef as a thing in itself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Reading and playing piano and organ music helps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The point is to think of the Grand Staff as the object of interest, (for keyboards) with a bass clef, middle C ledger line, then treble clef.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Later you can learn the C-clefs.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It just takes practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lots of practice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/23838/ttw", "score": 3 } }, { "sents": [ { "text": "When you read English (or whatever your native language is, assuming it's alphabetic), do you read the letters individually and sound them out to form words?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course not; long ago you achieved reading fluency.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Same with music - with enough practice you just look at the score and automatically play what's in front of you.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It doesn't matter if one staff is in treble and the other in bass, or if both staffs are in bass, or if the top staff is in bass and the bottom in treble for some hand-crossing passage, or if the composer decided to write in 3 or 4 staffs to make the voicing more clear.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "Just as there are debates (see phonics vs whole language) about the best way for children to learn reading English, there are debates about how people should learn to read music, but, just as for English, it probably doesn't matter that much in the long run.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "If you start playing chamber music with cellists or violists, you learn to fluently read tenor and alto clef", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so you can follow what they're doing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Probably you can depend on your tenor clef experience for B-flat instruments (though the few measures Brahms wrote for clarinet in A-sharp are quite annoying).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/21176/Alexander Woo", "score": 3 } }, { "sents": [ { "text": "There will be better answers but for in short", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I believe your method is okay.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because now you are counting them but", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "soon after you will start to memorize them one by one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In short time it looks efficient.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also to memorize them you can draw a staff and write all notes on it once a day.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It may help you to memorize them so that you will stop counting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also you can try this website", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "music.stackexchange.com/users/66587/Nabla", "score": 1 } } ]

{ "question": "I have a question about practising reading in different clefs. I know the treble clef well. When I read a note in the bass clef, I mentally add 3 semitones to it, so I get the note name in the treble clef.However, I'm suspecting that this method will hinder my sightreading speed: I'm not reading the note instantly. My question is: what is a 'right' cognitive process to read sheet music fluently? I wonder how one does not confuse reading notes in different clefs.", "title": "Sheet music reading and cognitive process?", "forum": "music.stackexchange.com", "question_tags": "<sight-reading>", "link": "music.stackexchange.com/questions/104435", "author": "music.stackexchange.com/users/71726/markhollis" }

[ [ "The best method is repetition. The more practice you get the easier it gets over time.", "The best method is repetition. " ] ]

{ "rel_sent_not_in_cluster": [ false ], "cluster_sents_not_matched": [ [ "I think Albrecht Hugli provided a good answer, though it seems to be down voted." ] ] }

[ 7 ]

[ [ "The best method is repetition. All you really need to do is identify one note on the clef and pair it with your instrument. What works is the realization that everything is relative.", "It doesn't matter if one staff is in treble and the other in bass, or if both staffs are in bass. Just as there are debates about the best way for children to learn reading English, there are also debates about how people should learn to read music." ] ]

[ { "sents": [ { "text": "The truth is that the most startling thing about the brother's death is the complete lack of exposition of its circumstances.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nobody follows up, asks or even hints at what might have caused it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think this is a nice move for Malick to pull because it gives the story an almost biblical sense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a predominantly spiritual work, dwelling on details like how exactly a person dies are simply distracting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like the \"she's my sister\" trick and locusts in Days of Heaven, it's clear that Malick is taking some cues from the Old Testament here.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Old Testament almost never goes into detail about the circumstances in which a person dies, it's much more interested in the spiritual lessons surrounding the death.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The lessons of the brother's death and how the family comes to grips with it are not meant to be contingent on any particular circumstance, they are meant to be universal and timeless.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People die all the time, often in ways which we find unjust.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The issue to deal with isn't how they died, it's how we relate to it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And by breaking our narrative expectations and hiding the cause of death, Malick draws our attention to this point.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which isn't to say that I'm against speculating about what might have killed him, it's just that taken in context, it's clear that the film is intentionally drawing our attention away from that question.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/538/mmdanziger", "score": 8 } }, { "sents": [ { "text": "Though I have no evidence, I assumed the son died in some military-related incident because it was delivered by telegram which is a seemingly cold, sterile and impersonal fashion to deliver such news.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "I just assumed the implication was this was a death related to military activity.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/474/nbeyer", "score": 4 } }, { "sents": [ { "text": "It makes the most sense, if one assumes suicide.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That better explains why the eldest son blames the father; in other words, formative moments in the middle son's life, and a lack of affection from the father towards his sons, are suggested as being contributors to the death...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The following, lifted from thepointmag.com , is poignant and insightful:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We cannot leave alone the question of R.L.’s death, though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As a suicide, it is much more significant than random death in military combat, since it relates to the sorrow and meaninglessness of existence...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think Jack’s memory of R.L., his playmate and childhood companion, coupled with the reality of his suicide, provokes his own existential quandaries, just as Larry Malick’s suicide is a ghost haunting Malick’s thoughts on meaning in his films.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4668/Neo", "score": 4 } }, { "sents": [ { "text": "I know that you are not supposed to interpret a director's work as their autobiography, but if you read a little about Terrence Malick I think it becomes clear that he has included many elements of his own life.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His brother was a creative, sensitive guitar player who committed suicide at about 19 or 20.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The movie often shows a young boy with significant burns on the side of his head, and Terrence Malick's other brother was also burned.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is also a suggestion of a noose in the beginning of the movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because of the evidence, I think it is reasonable to assume that R.L. committed suicide.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4542/L.M.", "score": 3 } }, { "sents": [ { "text": "In the early days of the Vietnam War death notifications became so commonplace, and the military so unprepared for the great numbers of death notices that they were delivered by telegram.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The practice was later changed and representatives of the deceased military service would personally deliver the death notification.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The telegram delivery is a pivotal scene because it shows how \"wrong\" a life is that simply focuses on nature and ignores grace.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What could be worse than a strangers handing a note to a mother to read alone that her 20 year-old son was now dead.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Similarly, the grandmother stating to the grieving mother, \"people die and life must go on\" is so devoid of grace that we see ignoring the grace aspect of life, however inconvenient, will even override nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is reinforced by the dying dinosaur scene when the dinosaur leaves the injured dinosaur without killing it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Grace has its proper place in nature.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1650/MXD", "score": 2 } }, { "sents": [ { "text": "To be honest, I gained the impression from the film that R.L. jumped off that waterfall into the water.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That was just my opinion though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/6179/Jessica", "score": 0 } } ]

{ "question": "In the beginning of the movie 'Tree of Life', Mrs. O'Brien (Jessica Chastain) receives a telegram (or was it a regular piece of mail?) notifying her that her son has died. According to Wikipedia this happens in the mid 1960's. Is there any suggestion of how her son R.L. (Laramie Eppler) has died? Does Terrence Malick intend to keep this ambiguous? Can we even be certain that it was R.L. who died?", "title": "How does the son (R.L.) die?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><the-tree-of-life>", "link": "movies.stackexchange.com/questions/14", "author": "movies.stackexchange.com/users/6/samthebrand" }

[ [ "Though I have no evidence, I assumed the son died in some military-related incident because it was delivered by telegram which is a seemingly cold, sterile and impersonal fashion to deliver such news. In the early days of the Vietnam War death notifications became so commonplace, and the military so unprepared for the great numbers of death notices that they were delivered by telegram. The practice was later changed and representatives of the deceased military service would personally deliver the death notification. ", "it is assumed that the son died in some military-related incident because it was delivered by telegram" ] ]

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[ 7 ]

[ [ "Though there is no evidence, it is assumed that the son died in some military-related incident because it was delivered by telegram. The implication was this was a death related to military activity. The telegram is a seemingly cold, sterile and impersonal fashion to deliver such news." ] ]

[ { "sents": [ { "text": "Well, let's think about this, why are only humans used for the harvesting power?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Where are all the organisms?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You know the ones that don't need the sun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Morpheus:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A singular consciousness that spawned an entire race of machines.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "We don't know who struck first - us, or them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But we know it was us that scorched the sky.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At the time they were dependent on solar power and it was believed that they would be unable to survive without an energy source as abundant as the sun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One could say that all organisms became extinct?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that's stretching it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The machines must have been smart enough to take some organisms with them and mass produce.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just based on logistics, you would be able to save on computing power to run the simulation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Seriously, the amount of 3D rendering that goes on in the Matrix must be a lot", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Next part, everyone is all on the ship training Neo to be the one and all that", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so after Cypher talks to Neo and gives him the drink on the ship how in the world did he boot into the Matrix for dinner with Mr.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Smith?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Was it someone else?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No, because Cypher was on shift that night to monitor code on the Matrix.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So let's say he managed to get in.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Who got him out?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many more holes, I will have to watch it again to remember.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Notice, this is all based on the first movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/68/phwd", "score": 16 } }, { "sents": [ { "text": "Now that I think about it, I think the biggest inconsistency - besides Neo suddenly gaining power in 'the real world' at the end of the second film - is the travel that Neo takes to get to The Architect in the second film, and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Architect's implication that this Neo is the 7th (or perhaps more", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- it's been a while since I saw the film) version to meet him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are a few problems with this: The free will of other people in each incarnation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Does this mean that in each incarnation, there was an incarnation of Cypher that betrayed his teammates?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fact that each incarnation was Keanu Reeves.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It would have made more sense to have 7 different people representing Neo on the screen, seeing as how Keanu Reeves couldn't possibly have been born the same way each time (in theory, if the machines had a copy of his DNA, I suppose this could be true, but this seems like a stretch even for the world of The Matrix)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The path that got Neo to The Architect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Neo interacts with a number of 'old' programs, programs that supposedly have been around during each incarnation of The Matrix.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "None of them seems to have learned anything from their interaction with Neo, and Agent Smith is radically changed in this incarnation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If each incarnation led a similar path to The Architect (with the only major difference being Neo's reaction to the nature of The Matrix and his choice of saving Trinity or restarting the whole process), then Agent Smith should have been somehow been able to retain his power from one incarnation to another (after all, it's implied in Matrix Reloaded that he's no longer part of The Matrix, but is outside of it).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/260/Barry Hammer", "score": 15 } }, { "sents": [ { "text": "The biggest one that springs to mind is the fact that he is 'all powerful' within the matrix by the end of the first film, and actually stops it from running.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then in the next film he's just quite good at fighting, but not really omnipotent like in the first film.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/75/SirYakalot", "score": 14 } }, { "sents": [ { "text": "For me, the greatest inconsistency is the Neo with superpowers at the end of the second movie in the 'real world'.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's a cheap trick that breaks the matrix own rules with the universe showed in the first movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/43/Zhen", "score": 7 } }, { "sents": [ { "text": "Well, I was very much convinced with the first part and even the second part for that matter where the version of matrix gets upgrading.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In fact the Viral concept of Agent Smith could not have been depicted more appropriately.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But hell broke loose in the third part.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I personally prefer they never took it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Neo being blind and having a vision in the live world is totally out of context and can be called as \"nuts\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/131/bragboy", "score": 4 } }, { "sents": [ { "text": "Well I think this trilogy suffers from many problems that stem from the fact that it was never \"planned\" to be a trilogy.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Like many other movies (Back to the Future, Pirates of the Caribbean etc.), the first movie was written as a standalone story without any purposely created plot holes for future explanation.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "What this means is that additional story telling based on the first movie will have to be then \"made up\" on the spot and tacked on to the original story.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "While there aren't any severe inconsistencies, many viewers can tell that many sequel story elements might not necessarily fit with the tonality of the the original.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This in itself could \"turn off\" many fans to the sequels of these films.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This of course isn't specific to just movie though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The same can be found in TV shows, comics and books as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/269/5StringRyan", "score": 3 } } ]

{ "question": "Lots of people reject both Matrix sequels, but do they have a good solid reason? Personally, I watched all three with the same level of wonder and interest. I listened carefully and pieced together the fictional universe as details emerged. Everything seems to fit; There's nothing I can put my finger on that is contradictory. Please make answers specific and detailed ; leave generalized, \"sequels just suck, 'cause...\" answers for the forthcoming, \"Why do all sequels suck?\" question.", "title": "Are there specific plot inconsistencies in The Matrix Trilogy?", "forum": "movies.stackexchange.com", "question_tags": "<the-matrix><sequels><plot-explanation>", "link": "movies.stackexchange.com/questions/35", "author": "movies.stackexchange.com/users/10/Fosco" }

[ [ "Well I think this trilogy suffers from many problems that stem from the fact that it was never \"planned\" to be a trilogy. The first movie was written as a standalone story without any purposely created plot holes for future explanation. While there aren't any severe inconsistencies, many viewers can tell that many sequel story elements might not necessarily fit with the tonality of the the original.", "Many viewers can tell that many sequel story elements might not necessarily fit with the tonality of the the original." ] ]

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[ 7 ]

[ [ "The first movie was written as a standalone story without any purposely created plot holes. Additional story telling based on the first movie will have to be then \"made up\" on the spot and tacked on to the original story. Many viewers can tell that many sequel story elements might not necessarily fit with the tonality of the the original." ] ]

[ { "sents": [ { "text": "Roger Avary , the co-writer of Pulp Fiction says: Originally the briefcase contained diamonds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But that just seemed too boring and predictable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it was decided that the contents of the briefcase were never to be seen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way each audience member would fill in the blank with their own ultimate contents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All you were supposed to know was that it was \"so beautiful.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No prop master can come up with something better than each individual's imagination.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At least that was the original idea.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then somebody had the bright idea (which I think was a mistake) of putting an orange lightbulb in there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Suddenly what could have been anything became anything supernatural.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Didn't need to push the effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "People would have debated it for years anyway, and it would have been much more subtle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can't believe I'm actually talking about being subtle. from Roger Ebert's Questions for the Movie Answer Man", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/36/kapa", "score": 92 } }, { "sents": [ { "text": "Well, people try and make tenuous Links between Reservoir Dogs and Pulp Fiction .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "By that, I mean people try and see if they hold up as sequels, whether continuity-wise they can work.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A logical opinion is to say that the diamonds that are stolen in Reservoir Dogs are what are in the brief case in Pulp Fiction .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, Harvey Keitel and Quentin Tarantino act as two different people in both films.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So, this still doesn't hold true.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I heard a theory that it was Wallace's soul that was in the case.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Evidence for losing his soul is the injury on the back of his neck.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, that seems far fetched.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/112/Joseph Lynn", "score": 21 } }, { "sents": [ { "text": "I've always assumed (despite Avary's explanation) that it was a clever movie reference to the McGuffins in two previous movies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The most recent being the great Repo Man", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Dir Alex Cox, 1984)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "where a briefcase purported to contain alien remains and which glows mysteriously is a key thread.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This, in turn, may have some relationship with the case of radioactive material in the great noir thriller Kiss Me", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Deadly (Dir Robert Aldrich, 1955).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you are going to include references to other movies (a known Tarantino trait)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "those are two awesome movies to reference.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/134/matt_black", "score": 18 } }, { "sents": [ { "text": "I heard the theory that @JosephLynn mentioned about it being Wallace's soul - and relating it to the injury on the back of his neck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The theory only has slim backing - the glow, the band-aid, the combination of the briefcase (666) and the 'miracle' that happens as Vince and Jules come to take the soul back, perhaps rescuing it from the devil.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Obviously the quote from Avery saying that they didn't have a fixed idea of what it was kind of trumps that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40/iandotkelly", "score": 14 } }, { "sents": [ { "text": "Until reading the other answers here I always assumes that it contained gold bars because of the orange glow.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know this is a slightly boring conclusion", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I don't think that Pulp Fiction is supernatural in any way and the theory about Wallace's soul is just silly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It had to be something very valuable due to Tim Roth's reaction to it and the colour of the glow", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "makes me think gold rather than diamonds.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1375/Jacob Tomlinson", "score": 8 } }, { "sents": [ { "text": "I'm afraid I must also weigh in with boring old, run of the mill diamonds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I read that Tarantino didn't want to use diamonds (even though that's what is in the briefcase according to the script) because he'd just come off Reservoir Dogs which featured a diamond heist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/3256/Cage", "score": 0 } } ]

{ "question": "In Pulp Fiction, there is a briefcase which has contents that are kept very secret. What item is most likely to be in the briefcase?", "title": "What has the greatest chance of being in Marcellus Wallace's briefcase?", "forum": "movies.stackexchange.com", "question_tags": "<pulp-fiction>", "link": "movies.stackexchange.com/questions/60", "author": "movies.stackexchange.com/users/108/benhowdle89" }

[ [ "Well, people try and make tenuous Links between Reservoir Dogs and Pulp Fiction . A logical opinion is to say that the diamonds that are stolen in Reservoir Dogs are what are in the brief case in Pulp Fiction but the colour of the glow coming from the brief case makes me think it is gold rather than diamonds. I also heard a theory that it was Wallace's soul that was in the case and losing his soul caused the inury on the back of his neck.", "The briefcase might contain gold rather than diamonds." ] ]

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[ 7 ]

[ [ "In both movies, Harvey Keit and Quentin act as different characters. It is said that it was Wallace's spirit that inhabited the case. It can be inferred that he has lost his soul because of the damage to his back of his neck. On the other hand, this idea seems far-fetched.", "The briefcase might contain gold rather than diamonds." ] ]

[ { "sents": [ { "text": "There is a definitive answer to one part of this question: Is it likely that the producers simply overlooked this?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "No.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was intentionally removed from the original draft .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Obviously this version is fairly different)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Here's the original ending of the script: INSERT – CLIPPING A story with the headline, “Police Quell Near Riot At School Dance,” along with a photo of the dance that shows Marty on stage!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "GEORGE stares at the photo, then shakes his head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "GEORGE Nah.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Couldn’t be.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/32/mootinator", "score": 76 } }, { "sents": [ { "text": "Even if they would notice, they would never accept it as a truth, because it is much against a normal understanding of the world.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It would be probably like:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Ever notice how much Marty looks like that one guy I nearly fell in love with?\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yeah, funny that\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And thats it", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ":).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They could never imagine/reason, that Marty did time travel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it is not even a possibility and therefore would not seem to be strange.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/113/oers", "score": 55 } }, { "sents": [ { "text": "Remember that cat your parents took in for one week when you were a child?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Isn't it strange that it looks exactly like the kitten you've been raising down to the last stripe?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You don't remember what that cat looked like?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't remember my childhood best friend's face very well", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and I knew him for years.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Had I met him and known him for only a week I doubt I would even remember the details.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This isn't a plot hole.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/92/Kalamane", "score": 41 } }, { "sents": [ { "text": "Suppose the parents did notice the similarity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What would the chances be that they noticed exactly in", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the '85 time frames the movie shows?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nil.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/148/NGLN", "score": 18 } }, { "sents": [ { "text": "It doesn't matter", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His parents never mention the similarity in the movie because: Before the 1955 part of the movie, it would be somewhat of a spoiler.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "After the 1955 part of the movie, it might have worked, but it would have been \"cute dialog of convenience\" and not really realistic there.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 1 ] ] }, { "text": "Ultimately, if you accept the underlying premise of Back to the Future which is that if key events stay more or less the same, the future will be unchanged, then you have to accept that whether his parents saw the similarity or not is irrelevant.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 1 ] ] }, { "text": "This is good news.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can either choose to believe they never noticed a similarity, or you can choose to believe that at some point in Marty's alternate youth, his parents showed him a picture of this guy he bears an uncanny resemblance to, and none of them including alternate past Marty had any idea it actually was him yet, and then they went about the rest of their lives normally.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whether either theory is correct is irrelevant, because according to the rules of the BTTF universe, it doesn't actually change anything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/32/mootinator", "score": 15 } }, { "sents": [ { "text": "Who is to say they DIDN'T notice and comment on it...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but we didn't see it?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What would they have said anyway?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lorraine :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wow, Marty!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You look just like a highschool friend of ours.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(To George) Honey, c'mere!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Look at Marty.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Doesn't he look like that friend of yours, Kevin?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "George :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You mean Calvin?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Oh yeah, he does!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Shame", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "we don't have any photos of him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Honestly, if he hadn't had disappeared all those years ago, I'd have sworn you'd been cheating on me!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Lorraine :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Oh, honey!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As if I'd cheat on you...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "George : I know,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "dear.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "*kiss", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "* Hmm.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Is Biff done with that car yet?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What would YOUR parents say if you resembled a childhood friend they hadn't seen in 30 years?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/3430/Django Reinhardt", "score": 11 } }, { "sents": [ { "text": "It was 30 years ago for Marty's parents.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I can barely remember what happened 30 days ago, I can't imagine remembering something from 30 years prior.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now given that Marty's parents encounter with \"Calvin Klein\" is what brought them together,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I doubt they could remember what he looked like some 30 years later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I would say it's plausible that they would remember his name, but not his face.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1020/Waddler", "score": 6 } } ]

{ "question": "Although Marty is only in 1955 for one week, he plays a pivotal role in getting his parents together. He even briefly dates his mother. So, considering he plays such a pivotal role, does it make sense that his parents never mention that he looks so similar to their old friend? Is it not mentioned to simply cover up a plot hole, or is it likely that the producers simply overlooked this?", "title": "Why don't Marty's parents ever mention how similar he looks to the Marty of 1955?", "forum": "movies.stackexchange.com", "question_tags": "<analysis><back-to-the-future><time-travel>", "link": "movies.stackexchange.com/questions/61", "author": "movies.stackexchange.com/users/73/Codemwnci" }

[ [ "His parents never mention the similarity in the movie because: Before the 1955 part of the movie, it would be somewhat of a spoiler. After the 1955 part of the movie, it might have worked, but it would have been \"cute dialog of convenience\" and not really realistic there.", "if you accept the underlying premise of Back to the Future which is that if key events stay more or less the same, the future will be unchanged" ] ]

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[ 7 ]

[ [ " Even if they would notice, they would never accept it as a truth.", "His parents never mention the similarity in the movie. After the 1955 part of the movie, it might have worked, but it would have been \"cute dialog of convenience\" and not really realistic there. Ultimately, if you accept the underlying premise of Back to the Future which is that if key events stay more or less the same, the future will be unchanged" ] ]

[ { "sents": [ { "text": "Well for the first film and for most of the second, the Bride is on a revenge mission where she is hunting her victims.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her identity would have to be a secret to make sure she doesn't get followed or caught.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It could be Tarantino's way of breaking the 4th wall and including us in the element of mystery and disguise that the Bride has to undertake to remain anonymous.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also, this could mean we are meant to detached emotionally from her as a character until her name is finally revealed as Beatrix Kiddo by Elle Driver.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is when we see the character as fully vulnerable and when she opens up her emotions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So Tarantino thought of this as the opportune moment to unveil all secrets of this character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Or perhaps it was just Tarantino being weird and awesome.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/112/Joseph Lynn", "score": 90 } }, { "sents": [ { "text": "From the script : From an interview with Uma Thurman : Why do they bleep your name?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That one eludes me.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You'll find out her name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You will definitely find out her name, I can tell you right now, but that'd ruin it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From an interview with Vivica A. Fox :", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What name do you and Uma say when they bleep it out?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beatrix.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her name is Beatrix.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is weird right?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Even when I saw the screening of it the other day I thought, “Are people going to get that?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "”", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You never hear her name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She’s just The Bride.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Whenever I go, “Sweetie this is an old friend of mommy’s, Beatrix, Beatrix, this is my daughter,” it’s bleeps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And she goes, “Hi honey, my name is…” and it bleeps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See, you’ve got to go see it again.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Why does he do that?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Because he wants you to come back and see it again and figure out what the hell her name is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just to add little things.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just a quirk.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There were several hints about the name, giving people the opportunity to figure it out before it was eventually revealed in Volume 2 .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, when she buys a plane ticket to Japan her name is visible on the boarding pass : Where did the name Beatrix Kiddo come from?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From an interview with Quentin Tarantino : Uma came up with the name Beatrix -- she worked for somebody with that name.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And I came up with Kiddo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's what I call women -- when I really like a girl, I call her \"kiddo\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Speculation:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Quentin Tarantino is a known fan of Jean-Luc Godard (", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "his production company A Band", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Apart was named after Godard's movie Bande à part ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In Godard's movie Made in the U.S.A. there is a running gag : Godard censors Richard’s second name with all kinds of sounds possible.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So maybe this was Tarantino's inspiration.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1525/Oliver_C", "score": 75 } }, { "sents": [ { "text": "Her name is bleeped because she cannot be named until she deserves to.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Throughout the film she has 4 names.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In chronological order the first event of the story is the wedding massacre.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At this point she is Black Mamba.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She is shot in the head by Bill.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the death of Black Mamba.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She wakes up four years later.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the birth of The Bride.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Now The Brides sole purpose is to take up the sword and wreak havoc on those who wronged her.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She kills O-Ren with the sword and Vernita with a knife.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She becomes dependent on the sword.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So much so that she underestimates Budd.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her plan is of course to attack Budd in his trailer with the sword.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This immediately backfires when Budd shoots her with rock salt and disarms her.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What happens next is the most significant part of the film.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Having her sword taken away from her she is now powerless.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Budd nails her in a wooden coffin and buries her alive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the death of The Bride.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is during this burial that through remembering her training with Pai Mei she realizes she doesn't need to rely on the sword.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her power lies in her hands.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She punches her way out of the coffin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is the birth of Beatrix Kiddo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From here on her name will not be bleeped and she will not use the sword again.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beatrix doesn't kill Budd, Elle Driver does.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beatrix snatches Elle's other eye out leaving her completely blind.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is questioned in the end credits whether Elle dies or not as she is left blind in Budd's trailer with a deadly Black Mamba snake.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After this, only Bill is left.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She tracks him down ready to kill him when suddenly she is killed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well symbolically of course.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She is shocked at the sudden realization that her daughter is still alive.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Her daughter shoots her with a toy gun.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Beatrix falls to the ground (dies) and is woken up by B.B. (her daughter).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She is reborn as \"Mommy\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/3604/Matt", "score": 46 } }, { "sents": [ { "text": "An explanation based on secrecy from other characters isn't self-consistent or internally consistent.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "She is hunting people who know who she is and beeping the name for the audience doesn't stop the characters knowing who she is (the name isn't beeped for the characters but for the audience ).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "And the people she is hunting know they are being hunted by her.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Careful attention to what characters say to her before her name is revealed to the audience, however, suggests a different explanation.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Several times she is referred to as \"kiddo\" by other characters, especially Bill, which the audience will interpret as a term of endearment if they don't know her name is Kiddo.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "They can then reinterpret the earlier scenes when the real name is revealed.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This subtle misdirection seems a plausible motivation for Tarantino.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/134/matt_black", "score": 17 } }, { "sents": [ { "text": "I thought it was a humorously heavy-handed ploy to evoke Clint Eastwood's \" Man with No Name \" character in Sergio Leone's Spaghetti Western films.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4304/Will Feldman", "score": 4 } }, { "sents": [ { "text": "It's basically just a reference to 'Made In U.S.A' and...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "that's pretty much it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's the only reason anything happens in that movie; it's just there to remind you of another movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1934/Matthew Thompson", "score": 3 } } ]

{ "question": "In the movie Kill Bill Vol.1 , whenever someone mentions the bride by her name Beatrix Kiddo Her name is censored with a beep. Is this explained somewhere in the movie? Or is it just a signature that Tarantino leaves?", "title": "Why is the bride's name beeped in Kill Bill Vol 1?", "forum": "movies.stackexchange.com", "question_tags": "<analysis><quentin-tarantino><film-techniques><kill-bill>", "link": "movies.stackexchange.com/questions/63", "author": "movies.stackexchange.com/users/111/Vimal Raj" }

[ [ "The bride is hunting people who know who she is and beeping the name for the audience doesn't stop the characters knowing who she is. So,the name isn't beeped for the characters but for the audience. ", "Tarantino's character's name is beeped for the audience, but not for the characters" ] ]

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[ 7 ]

[ [ "Tarantino's character's name is beeped for the audience, but not for the characters. The audience is unaware of her real name. Other characters refer to her as \"kiddo\" several times. When the real name is revealed, the audience can reinterpret the earlier scenes" ] ]

[ { "sents": [ { "text": "I don't think it had any plot driven change.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Bond franchise was feeling threatened by newer spy movies (such as the Bourne series) which have more action, (slightly) more plausible plots (compared to ray-gun satellites etc), and have less comedic elements.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A reboot with a new younger actor and a deliberate step away from some of the conventions of the franchise (gadgets & moneypenny for example) were their answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They tried to take it this direction before - a Licence to Kill was a deliberate attempt with a drug-smuggling and revenge plot-line, but wasn't well done.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They then decided to switch back to more 'classic'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bond approaches with Brosnan.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40/iandotkelly", "score": 51 } }, { "sents": [ { "text": "Love the other answers already given but one extra contributory factor may be that, and you may not remember this, there was a huge backlash against 'Die Another Day's over-use of frankly bullshit technology and the makers commented at the time that they knew they'd gone too far.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In particular the invisible car was just laughed at when I saw it theatrically, as was the huge laser that could destroy land targets but seemed to only warm up the plane gradually, plus the ice-hotel, the VR headset and a number of other items that not only didn't add anything but actually made the film laughable.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/296/Chopper3", "score": 37 } }, { "sents": [ { "text": "The new movies starring Daniel Craig were intended as a reboot of the series.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As part of that reboot it seems that they have moved away from having so many gadgets and are focusing more on the character's own abilities.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/52/DForck42", "score": 19 } }, { "sents": [ { "text": "After seeing the preview to the new movie Skyfall, I think there might be another possible explanation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the preview, they introduce Q for the first time in the reboot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They also seem to imply that Q is going to \"revitalize\" MI6, maybe with more emphasis on tech support instead of purely physical methods of getting information (as Daniel Craig has done in the earlier movies).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Perhaps there are not as many gadgets because this reboot emphasizes the beginning of 007 and is before Q is there to create the gadgets.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1964/user1964", "score": 7 } }, { "sents": [ { "text": "I don't think Bond is less \"tech savvy\" in the new Bond films.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is a definite move away from the Moore/Brosnan era.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The new approach to the character is less tech driven and moves more toward the literary character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Although the Bourne films can be credited for the more gritty fight scenes and slick editing, you only have to look back at From Russia with Love and On Her Majesty's Secret Service for early examples of this style of Bond.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both of these Bond films were credited to be nearer the literary character than any other and were also very low tech in comparison to other movies.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It would seem that the Daniel Craig Bond is a step in this direction which (for me) is a very good thing.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1877/Workin' class hero", "score": 2 } }, { "sents": [ { "text": "It could be due to the now wider spread knowledge of technology.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "People are more educated about science and technology now and would be less willing to forget or believe any of these technical feats.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Instinctively they reject them.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's laughable for a person such as James Bond to know so much about gadgets and technology which would make anyone who is a little tech-savvy laugh and mock what's been done in previous movies of the franscise", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(eg think about Roger Moore disarming a nuclear bomb in 'The Spy who Loved Me' and never even sweats!, or the bond-turned-star-wars in 'Die Another Day', or I can think of at least 8 other laughable occassions).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I find the approach that started with Daniel Craig definitely more realistic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Daniel Craig's Bond is not a superhuman, he's grounded, he's in pain", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", he hurts, he doesn't have an answer and a joke for everything and as such the audience can sympathize with him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other spy movies like Bourne (which was better than almost all Bond movies at the time) or Mission Impossible influenced this turn of the tide.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/32997/Nikos", "score": 0 } } ]

{ "question": "The most recent installments of James Bond (ones featuring Daniel Craig) have fewer gadgets but more raw action (like the chase sequences in Casino Royale and Quantum of Solace). Is it because of plot related changes to the MI:6 or have the movies been altered to suit the audiences?", "title": "Why is James Bond less tech savvy in the Daniel Craig movies?", "forum": "movies.stackexchange.com", "question_tags": "<james-bond>", "link": "movies.stackexchange.com/questions/144", "author": "movies.stackexchange.com/users/96/karth" }

[ [ "It could be due to the now wider spread knowledge of technology.People are more educated about science and technology now and would be less willing to forget or believe any of these technical feats.", "People are more educated about science and technology now and would be less willing to forget or believe any of these technical feats." ] ]

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[ 7 ]

[ [ "Invisible car, huge laser, VR headset and ice-hotel among items that made film laughable. Inventive car was just laughed at when I saw it theatrically, says reviewer. People are more educated about science and technology now and would be less willing to forget or believe any of these technical feats." ] ]

[ { "sents": [ { "text": "The hat is a tangible representation of Byrne's dilemma.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The point to be noted is that his dilemma has so much prominence that it deserves a character of its own.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There are many scenes in the movie when the hat disappears at moments of clarity and magically reappears on the stairs, exactly at the birth of some new confusion.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Choosing a hat was also a very wise decision as it is something very personal to a character, to the extent that it could define a person, just like the confusion in his head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Just my tuppence worth", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/356/Lelouch Lamperouge", "score": 10 } }, { "sents": [ { "text": "A scene in the movie provides a lovely explanation of the hat: Verna:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What're you chewin' over?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom Reagan: Dream I had once.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I was walkin' in the woods, I don't know why.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Wind came up and blew me hat off.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Verna:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And you chased it,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "right?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You ran and ran, finally caught up to it", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and you picked it up.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But it wasn't a hat anymore", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and it changed into something else, something wonderful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom Reagan:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nah, it stayed a hat", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and no", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I didn't chase it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nothing more foolish than a man chasin' his hat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/763/Shiz Z.", "score": 5 } }, { "sents": [ { "text": "It's a symbol of death.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "\"Ever since Thucydides wrote his history, it has been on record that when the angel of death sounds his trumpet the pretenses of civilization are blown from men's heads into the mud like hats in a gust of wind .\"", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "-- George Bernard Shaw, Heartbreak House", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/25931/user25931", "score": 3 } }, { "sents": [ { "text": "After much conversation with my husband about this symbol, I feel that the hat symbolizes home for Tom. \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Home is where you hang your hat\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom spends the entire film wandering between different \"families\" in search of a place to belong.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hence the dream of his hat blowing away from him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His hat is the only home he's got.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/32696/S Hoff", "score": 3 } }, { "sents": [ { "text": "I've only seen the movie twice, but this is the impression I got from the hat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It represents composure and control.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While Tom would never chase his hat through the woods, he does express a want for his hat every time he loses it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And he seems to lose it every time he loses control of a situation: someone ambushes him, he gets drunk and gambles it away, or he gets socked in the face.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The reason he wouldn't chase his hat is because he's very worried about the impression he gives others.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He values dignity and the image of keeping a cool head even when he's in very hot water.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If he has his hat, he's composed, and if he's composed, he's still got some control of the situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4115/Jake", "score": 2 } }, { "sents": [ { "text": "The theory, that the hat is a man's dignity is pretty damn good.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Throughout the movie, as said, several times he loses his hat, it gets thrown away or knocked off his head.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "With the dream about his hat, how the woman goes on a totally different route, on saying the hat changed into something else, more beautiful.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tommy responds: \"Naah, it stayed a hat, nothing more foolish than a man chasing his hat.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This implies that no man chases his dignity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A man has dignity.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He puts his hat on firmly during the end scene.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/37523/LOBSTER", "score": 2 } }, { "sents": [ { "text": "It always seemed to me that Tom (Gabriel Byrne) says 'hat' in a way that sounds a lot like 'heart.'", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"Nothing more foolish than a man chasing his heart\" is a reasonable synopsis of the movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Leo (Albert Finney's character) chases his heart trying to win Verna, and nearly loses everything for it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom spends the movie chasing his heart as well.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He may be sincerely attracted to Verna, but he seems to realize that she may be using him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He also has deep loyalty to Leo.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He takes risks for both.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the end his friendship with Leo wins out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom fixes things for Leo and keeps him safe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tom is not sentimental about it, though, and sacrifices Bernie, thereby losing Verna.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The risks he takes for Leo may be a bit foolish, but Tom is not so governed by chasing his heart that he fails to take more cold-hearted calculations into account.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/24160/Josh", "score": 1 } }, { "sents": [ { "text": "To me, the hat symbolizes letting go of everything and being in the moment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In that moment, he doesn't chase the hat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's out of hope, out of future, head full of static.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/10025/Nance H-W", "score": 0 } }, { "sents": [ { "text": "I always took the hat as a metaphor to a lid or cap on Tom's feelings and emotions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Like how much he does care for Verna and Leo, even though he acts like he doesn't.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Verna even has his hat once, and Leo's people knock it off a few times with punches.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He is a very closed person, and never wants people to know his true intentions because he plays everyone.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/25702/scales9000", "score": 0 } }, { "sents": [ { "text": "The hat signifies pride, as in one of the seven deadly sins.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Virtually every calamity in the movie stems from pride.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Caspar's pride is stung in the opening scene where he accuses Tom and Leo of giving him the \"high hat.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That spurs the war.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Bernie returns after being given a second chance because his pride is stung at the thought of Tom having seen him grovel.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the end, Leo puts on his hat, and Tom his, and they part, even though they love one another.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Their pride covers up the meaning of their relationship and ultimately drives them apart, just as it drives Vera and Tom apart.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/39987/Tim Dim", "score": 0 } } ]

{ "question": "Miller's crossing pays a lot of attention to Gabriel Byrne's hat. Does it symbolize anything in the movie or have any significance to the plot or is this a bit of a red herring?", "title": "What is the significance of the hat in Miller's crossing?", "forum": "movies.stackexchange.com", "question_tags": "<analysis><millers-crossing>", "link": "movies.stackexchange.com/questions/435", "author": "movies.stackexchange.com/users/274/Jack Marchetti" }

[ [ "It's a symbol of death. ", "It's a symbol of death. " ] ]

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[ 7 ]

[ [ "It's a symbol of death. \"Ever since Thucydides wrote his history, it has been on record that when the angel of death sounds his trumpet the pretenses of civilization are blown from men's heads into the mud like hats in a gust of wind .\"-- George Bernard Shaw, Heartbreak House" ] ]

[ { "sents": [ { "text": "It is slightly odd, because other senses appear to be able to penetrate more than one layer, although they are severely attenuated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For example, when they are in Level 2 - someone says \"did you feel that, was that turbulence on the plane\" (which is Level 0), to which Eames says \"no, too close, Yusuf's driving probably\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He doesn't say - \"of course not, you wouldn't feel anything down here,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "must be Yusuf's driving\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then there is the Edith Piaf song used to synchronize the kick.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That is played by Yusuf into Arthur's ears in Level 1, yet is heard (faintly) in Level 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Then there is the 'second kick' that they experience when the van hits the water, this is felt in Level 3", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "- showing that something should be felt of the free-fall even at that layer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If senses are attenuated with each layer it would be more realistic to think that somewhat less than free-fall would be experienced in Level 2, and some effect would be experienced in Level 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is too much discrepancy between the total free-fall experienced by Arthur, and the apparent normality of skiing down a mountain that the team experience in Level 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Still doesn't spoil my enjoyment of it though.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40/iandotkelly", "score": 44 } }, { "sents": [ { "text": "Best explanation is the time mechanic.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Because time and other physics means for so little that deep, it could be that they are just deep enough that they do not feel it.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Briefly going over the scenes of the movie, they appear to be strapped down in order to not cause this free-fall effect.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "A more simpler explanation is that it is just an oversight on Nolan's part.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/130/Tablemaker", "score": 19 } }, { "sents": [ { "text": "The freefall was to wake them up from the next level (so they would feel it!)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is how I see the \"falling\" happen: Level 1:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Van falling", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Felt at Level 2 Level 3 feels nothing -- can get stuck.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "How is this remedied?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Freefall on level 2 which will bring them back from level 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ok Back from level 3 up to level 2 with freefall Back up to level 1 with van freefall Back up to level 0 with main freefall", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/202/Naftali aka Neal", "score": 9 } }, { "sents": [ { "text": "I think because when the van drives off the bridge in level 1, that is the 'kick' for the hotel level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When JGL activates the kick in the elevator, they feel it in the snow level.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/332/Zoe", "score": 5 } }, { "sents": [ { "text": "Perhaps this can be explained by assuming that: a controlled mental projection only has enough power to travel down one level, and a kick is designed to travel up, not down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The first premise is supported by noting that Yusuf is the dream controller for level 1, and his need to visit the men's room at level 0 causes rain at level 1 but not level 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Arthur is the dream controller for level 2, and his free fall at level 1 causes free fall in level 2 but not level 3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Premise (2) relies on the idea that the purpose of a kick is to wake up all of the extractors at level 0.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You may have experienced something like this when you are having a nightmarish dream and something extremely violent happens in the dream that causes you to suddenly sit up in bed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you think about a kick as originating inside the dream and travelling upwards, its downward effects (if any) become irrelevant other than as a warning that all of the dreams are about to end.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It seems that each level needs an upwards kick since Arthur scrambles around setting up a kick with the elevator at level 2.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Not sure why lower levels need an upwards kick, a level 1 to level 0 kick should suffice.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/6365/Moontown", "score": 4 } }, { "sents": [ { "text": "One possible explanation for this is that as time multiplies with each dream level, the effects from the upper level would be felt gradually.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "For e.g. In level1, the van falls into the water as a result, in level2, we get the zero gravity effect because the van is in free fall- and in level3, we have the snow avalanche - now, the van hit the bridge, started its free fall in water.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Normally this would take about 20seconds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In level2 the free fall gives them zero gravity for a longer period, assume 10min(time is multiplied in inner dream levels).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And in level3, this effect would occur even more gradually.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So now we have 10min maginified, that makes it say 2-3hours.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other effects would have gradually occured in that level too.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But as you know, the kick : level1 van hitting water, level2 lift propulsed with explosives resulted in the avalanche.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That means, that before those effects from level1 could have reached level3, the kick from level2 actually reached level3.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And the people got out of there quickly, they did not remain in level3 long enough for the effects to have taken place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1461/coolharsh55", "score": 3 } } ]

{ "question": "If level 0 is the reality, the characters in the van are at level 1. The van drops off the edge of the bridge and goes into freefall. At level 2, in the hotel, they experience the freefall as well. But then, at level 3, at the fortress, (and for that matter, in limbo) there is no freefall. Why is it so?", "title": "Why aren't the characters floating two levels down?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><inception>", "link": "movies.stackexchange.com/questions/475", "author": "movies.stackexchange.com/users/270/Beska" }

[ [ "Best explanation is the time mechanic. A more simpler explanation is that it is just an oversight on Nolan's part. ", "Best explanation is the time mechanic. " ] ]

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[ 7 ]

[ [ "Best explanation is the time mechanic. It could be that they are just deep enough that they do not feel it. They appear to be strapped down in order to not cause this free-fall effect." ] ]

[ { "sents": [ { "text": "I remember talking at some stage to a makeup artist from a film set.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "They had spring-loaded syringes where the actual needle would retract into the body of the syringe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This way they get a realistic pucker effect where the needle presses against the skin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/383/pully6", "score": 29 } }, { "sents": [ { "text": "I am late to this discussion, but the Weapons Specialist Ltd company makes retractable syringes and all sorts of other cool props.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The website includes a video of the syringe in action.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1606/MJ6", "score": 11 } }, { "sents": [ { "text": "While I do not have any official sources, I do not see them getting any actual syringes for a movie.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is fake as with most whether they do it with CGI (which seems a bit over the top when you have) trick syringes, or I've seen before where they just imply the shot with a cut-away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/130/Tablemaker", "score": 10 } }, { "sents": [ { "text": "All three types of techniques are used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Fake appendages.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can use a real needle in these.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Common when the appendage in question will be changed or explode or anything.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "All practical effects. CGI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In bigger productions, this can be a viable alternative to a prop.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Most often though, it will be a combination of a prop and CGI.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the most common is special effects props.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Nothing beats a solid prop in your hand.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can see the needle retracted into the syringe here:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A DIY one:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/23541/cde", "score": 6 } }, { "sents": [ { "text": "I own In The Shadows props www.intheshadows.ca.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In all unionized productions, an actor will never be punctured with a syringe.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Movie prop syringes range from $80-$100 for low end products where the needle will retract, to $400 - $800 where the needle will retract, is spring loaded, and will come back out as the needle is pulled from the arm.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Also, the High end have a second system, where liquid can be filled into the needle (blood drawn, or what ever color liquid is coming out of your alien), or liquid injected (clear, Heroin, floating particles, etc).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This is done via a 4 foot hose connected to the side of the syringe.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "At the other end is a vile with a bladder.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "That is where fluid goes to when injected, or fluid comes from when liquid is drawn from the needle.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "We make custom props.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "However, the high end syringes take very specialized materials and craftsmanship to make.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "So we purchase from trusted suppliers.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "One of the best effects is having a clear liquid (i.e. heroin) in the syringe.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The bladder then has red liquid (blood), and the tube is also full of blood.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The syringe is injected (pushed against skin, and spring loaded needle goes into shaft), and a little blood is drawn into the syringe to confirm you hit a vein.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This close up is a deal seller on film.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Then the syringe is depressed shooting the heroin (into the bladder at the end of the hose).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The shot usually changes here, as the specialty syringe is replaced with a real (dulled) syringe (another prop too long to talk about).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "And with a little movie adhesive, left in the arm/ leg / wherever, as the actor removes the rubber band to get stoned.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Hope this helps.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "P.S. as a pro in the industry, I would never recommend trying to make your own spring loaded needle.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You never want to put an actor at risk.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/43614/Steve White", "score": 3 } } ]

{ "question": "In the movie Contagion , Jennifer Ehle's character is shown giving herself an injection. This got me wondering - are the injections they perform on-screen real? Do needles actually penetrate the skin and flesh of the actors? If not (and it does seem unlikely), what techniques are commonly used to fake it? Do they have trick syringes, fake skin, CG?", "title": "How are injections given without injuring actors?", "forum": "movies.stackexchange.com", "question_tags": "<props><stunts>", "link": "movies.stackexchange.com/questions/530", "author": "movies.stackexchange.com/users/119/Gautam" }

[ [ "In all unionized productions, an actor will never be punctured with a syringe. Movie prop syringes range from $80-$100 for low end products where the needle will retract, to $400 - $800 where the needle will retract, is spring loaded, and will come back out as the needle is pulled from the arm. Also, the High end have a second system, where liquid can be filled into the needle", "In all unionized productions, an actor will never be punctured with a syringe. " ] ]

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[ 7 ]

[ [ "In all unionized productions, an actor will never be punctured with a syringe. Movie prop syringes range from $80-$100 for low end products where the needle will retract, to $400 - $800 for high end products. One of the best effects is having a clear liquid (i.e. heroin) in the syringe, which goes into a vile with a bladder. The bladder then has red liquid (blood), and the tube is also full of blood. The syringe is injected (pushed against skin, and spring loaded needle goes into shaft), and a little blood is drawn into the needle to confirm you hit a vein. The shot usually changes here, as the specialty Syringe is replaced with a real (dulled) syringe (another prop too long to talk about)" ] ]

[ { "sents": [ { "text": "When Sherlock says \"This is low tar\", Mycroft replies \"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Well, you barely knew her\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This reenforces the idea that the cigarette is a way of coping with the loss - he didn't know her that well, so he doesn't need a strong cigarette.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/626/Alec", "score": 24 } }, { "sents": [ { "text": "I presumed that it was just Mycroft and John Watson's way of telling whether Sherlock was badly affected by the news of her death.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think in the original A.C.D. stories, Sherlock Holmes does seem to have a tendency to fall into what we would now call depression and even that he has tendencies towards manic-depression.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the original stories he is also a user of drugs including opiates (which were not illegal at the time) when depressed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I thought that (modern) Sherlock does not routinely smoke, therefore if he accepts the cigarette then he is going to be bad.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I don't think it was just a way of helping him relax.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40/iandotkelly", "score": 13 } }, { "sents": [ { "text": "I can't be certain this is the right answer, but some of episode 2 makes it look like Sherlock's serious addiction is cigarettes not something a little more risque.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So cigarettes are the modern stand-in for his need for cocaine.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Letting him have one is an admission that he has had to deal with something serious (like the loss of Adler).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/134/matt_black", "score": 7 } }, { "sents": [ { "text": "Mycroft and Watson mentioned a \"danger night.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\" I assume Mycroft gave him the stick to be nice when seeing his brother emotionally falling down.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Tobacco has also completely replaced the morphine use, but he did refer to his 7% cocaine solution in one episode.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It was just a treat.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1284/robert jenkins", "score": 4 } }, { "sents": [ { "text": "Actually, if you paid attention to the episode he reveals his use of the Nicotine patches, he says its next to impossible to keep a smoking habit in London \"nowadays\" this is likely due to some form of legislation limiting areas where one can smoke or additional taxes on them.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "While Mycroft most likely extends this due to the loss of Irene Addler as well, it is also because of some form of restriction to smokers in London.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "At least, that is my analysis without checking in on British law.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/3493/Zetta", "score": 4 } }, { "sents": [ { "text": "It was a way of testing how upset Sherlock was.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the Hounds of Baskerville, Sherlock is extremely stressed out because he doesn't have a case to work on, and can be seen trashing the flat looking for a pack of cigarettes.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When someone comes with a case, Sherlock begs him to smoke (since the person smoked) and then sniffs out all the smoke.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So, since Sherlock was upset, he took the cigarette.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's why John swears when he finds out.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/6726/Veronica", "score": 4 } }, { "sents": [ { "text": "I saw it as a test to see how upset he was about Irene.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When he took it and Mycroft spoke to John, he was worried about it being a 'danger night' and Sherlock taking the cigarette provided him with the proof that that night could potentially be one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4465/carla", "score": 3 } }, { "sents": [ { "text": "Read Arthur Conan Doyle's first two books, or get his complete works.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sherlock was a heavy smoker of a pipe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The three patch problem is reference to a three pipe problem in the original.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In all the books, he only uses cocaine for one stretch of time; Watson said he used it three times a day for the three months he witnessed it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He was once in an opium den when he was in disguise and saw Watson.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He said that if were identified there, he would be killed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So we'll assume he didn't smoke opium or it would have blown his disguise.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Watson said in the first book he does seem distant, like on some narcotic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So the cigarettes replace a pipe.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He's a heavy smoker and the only reference to using cocaine is in the books!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/38460/Barry", "score": 0 } } ]

{ "question": "Mycroft Holmes, gives a cigarette to Sherlock and says \"Merry Christmas\" . Then in the following scene, Dr. Watson asks Mycroft if he gave the cigarette to Sherlock. So, it seems to me that the cigarette has some significance. Although it might also seem like Sherlock was just suffering from the supposed loss of Irene Adler, and his brother just thought the nicotine patches weren't good enough to help him relax. Any thoughts?", "title": "What is the significance of the cigarette in 'Sherlock: A Scandal in Belgravia'?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><props><sherlock>", "link": "movies.stackexchange.com/questions/790", "author": "movies.stackexchange.com/users/356/Lelouch Lamperouge" }

[ [ "In the episode he say's that it's next to impossibile to keep a smoking habit in London ''Nowadays'' this is likely due to some form of legislation limiting areas where one can smoke or additional taxes on them. While Mycroft most likely extends this due to the loss of Irene Addler.", "it is also because of some form of restriction to smokers in London." ] ]

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[ 7 ]

[ [ "It is also because of some form of restriction to smokers in London. Since it was impossible to keep a smoking habit in London \"nowadays\" as this is likely due to some form of legislation limiting areas where one can smoke or additional taxes on them." ] ]

[ { "sents": [ { "text": "Yes, he's certainly referencing Mr. Spock - everyone's favorite Vulcan science officer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the Star Trek TV show (and on film) Spock constantly struggled with his emotions due to his mixed blood, and sometimes had a hard time suppressing them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Watson is likening Sherlock's own 'emotional struggle' (albeit brief) to this classic character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/382/Nobby", "score": 36 } }, { "sents": [ { "text": "An ancestor of mine maintained that if you eliminate the impossible, whatever remains, however improbable, must be the solution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Said by Spock in Star Trek VI:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The Undiscovered Country , written among others by no other than Nicholas Meyer, who wrote The Seven Per-Cent Solution , which is regarded by many to be the best Sherlock Holmes novel not written by Doyle himself.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it is a clever nod to the popular culture by the contemporary TV show, which becomes a mindbinding Mobius strip, when you realize that the Spock character himself is in part based on original Sherlock Holmes, in a way House is: logical to a fault and incapable of experiencing basic human emotions.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/703/Olya", "score": 20 } }, { "sents": [ { "text": "In the sixth Star Trek movie, Spock quotes Sherlock Holmes' famous line \"Once you've ruled out the impossible, whatever remains, however improbably, must be true.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, since the modern-day Sherlock couldn't be quoting himself, Watson identifies the quote as Spock's, and not Sir Arthur Conan Doyle's.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I really liked this reference, particularly the way it messes with time...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but in the new Sherlock, they're assuming that the original quote came from Star Trek.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Of course, the bits about struggling with emotions are rather Spock-ish, since Spock rarely shows his own emotions in the show.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope that helps!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1521/thebillmm", "score": 10 } }, { "sents": [ { "text": "Yes, he is.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Recall that the TV Series is supposed to be modernized.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From Wikipedia: \"Sherlock is a British television series that presents a contemporary update of Sir Arthur Conan Doyle's Sherlock Holmes detective stories.\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Since it is contemporary, it is in a day in age in which Spock is very well known, so the comment makes perfect sense.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/480/Andrew Latham", "score": 9 } }, { "sents": [ { "text": "Spock is a character so famous for his lack of emotion and applying logic to even the most emotionally-weighted situations that TV Tropes has named this character archetype after him .", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "From that page (abbreviated slightly): A character who will always think before acting, The Spock is an archetype that can be loosely summed up as the tendency to apply rules, reason and the greater good to all of his/her decisions .", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This character can exist by themselves, but more often, they will have a more emotional and humanistic counterpart to contrast their decisions.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The Spock's relationship with his crewmates/comrades is often tense, because this character type is willing and able to ruthlessly consider ethically troubling situations without batting an eye — especially situations where people might be ordered to die.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "While his counterpart The McCoy is interested in doing the right thing regardless of cost, The Spock is more interested in the end result.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "For him, everyone (including himself) is expendable and he has no problem treating people as such.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "John calling Sherlock \"Spock\" is like when he calls him a \"machine\" - he's teasing and/or criticising him for his lack of emotion and upholding of reason and logic (in circumstances in which, in John's opinion, there are more important things than reason and logic).", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/9877/starsplusplus", "score": 3 } }, { "sents": [ { "text": "The scene between Sherlock and John, where Sherlock is having an emotional break down in \"Hounds of Baskerville\", is similar to a scene in an episode of Star Trek called \"Naked Time\" where Spock has an emotional break down and confesses to feeling shame when he feels friendship towards Jim Kirk, his captain and best friend.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In \"Baskerville\", Sherlock angrily tells John Watson, his best friend, that he has no friends.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Both characters say that they have to control their feelings.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And both break downs are caused by a drug like substance.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sherlock was reacting to the drug mist.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Spock to a space disease that made one act intoxicated.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The character of Spock is similar in many ways to Arthur Conan Doyle's Sherlock Holmes, so I think the writers were borrowing back as a joke, and that's why John calls Sherlock \"Spock\" because he is acting like the famous Star Trek character.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Sherlock and John, Spock and Jim, even the names are similar.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/13209/Delva", "score": 1 } } ]

{ "question": "In Sherlock: The hound of Baskervilles, Sherlock describes his feelings about not being able to distance himself from his latest felt feeling , fear and he says The grit on the lens, fly in the ointment To which, Dr Watson replies Yeah, all right, Spock , just.. take it easy The only Spock I have ever known is this man: Why is he being referenced here? Is Watson talking about this Spock?", "title": "Why does Watson call Sherlock, 'Spock'?", "forum": "movies.stackexchange.com", "question_tags": "<analysis><sherlock>", "link": "movies.stackexchange.com/questions/839", "author": "movies.stackexchange.com/users/356/Lelouch Lamperouge" }

[ [ "Spock is a character so famous for his lack of emotion and applying logic to even the most emotionally-weighted situations that TV Tropes has named this character archetype after him . John calling Sherlock \"Spock\" is like when he calls him a \"machine\" - he's teasing and/or criticising him for his lack of emotion and upholding of reason and logic .", "The Spock is famous for his lack of emotion and applying logic to even the most emotionally-weighted situations. For him, everyone (including himself) is expendable and he has no problem treating people as such." ] ]

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[ 7 ]

[ [ "TV Tropes has named a character archetype after him. The Spock is famous for his lack of emotion and applying logic to even the most emotionally-weighted situations. For him, everyone (including himself) is expendable and he has no problem treating people as such. John calling Sherlock \"Spock\" is like when he calls him a \"machine\" - he's teasing and/or criticising him. He's mocking him for his inability to think before acting. The character type is willing and able to ruthlessly consider ethically troubling situations without batting an eye — especially situations where people might be ordered to die." ] ]

[ { "sents": [ { "text": "I always assumed it was a sign that an otherwise unassuming and placid teacher had a ruthless streak and could deal swiftly and, if necessary, brutally with a situation.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "---The book explains it (and it was written pre-Harry Potter).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The owl had been nesting in the disused chimney.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "When Prideaux fired it up a half-dead owl was smoked out onto the classroom floor, shocking and startling the boys.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Prideaux whisks it up and out of the room.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Later the boys find the dead owl on the rubbish heap, its neck neatly twisted and broken.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The point is that Prideaux is a skilled killer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also in the book, Haydon is killed by persons unknown, his neck neatly twisted and broken.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The movie version compresses the more nuanced details from the book (that also foreshadow the different details of Haydon's death).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But the essence that Prideaux is a capable and ruthless killer when required are preserved in a simpler, shorter scene.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/134/matt_black", "score": 23 } }, { "sents": [ { "text": "The significance of the bee scene is that, unlike the others in the car, Smiley is totally focused on the things that matter (the mole) and able to completely ignore trivial distractions like the bee.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/624/Simon Whitaker", "score": 6 } }, { "sents": [ { "text": "In a flashback we see Jim is tortured wearing the headphones while being exposed to disturbing screeching sounds.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Something snaps when he hears the owl making a similar sound.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40918/Lisa Douglas", "score": 3 } }, { "sents": [ { "text": "The owl scene is much more subtle, it is introduced right at the beginning of the book.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "At the end, it is never explicitly revealed who killed Bill Haydon", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but it is strongly implied \"Stooping over him, he caught the smell of alcohol -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he guessed gin or vodka -", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Prideaux drank vodka)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It wasn't till he tried to lift him that his head flopped over, and the rest of him followed as dead weight\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(Prideaux had wrung the owl's neck).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "QED", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it must've been Prideaux wot dun it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/5054/mantonman", "score": 1 } }, { "sents": [ { "text": "I say the owl, disturbed from his chimney, is a metaphor for betrayal or a secret let loose, a symbol of wisdom and a portent for Jim Prideaux of exposure, hence his prompt execution of the bird.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/28786/Katy Burton", "score": 1 } } ]

{ "question": "There's a scene in \"Tinker Tailor Soldier Spy\" where Prideaux (Mark Strong) is in the class room teaching, then suddenly an owl pops out of the fireplace. Prideaux quickly dispatches it. Later on, in the same class room, Prideaux is talking to Smiley (Gary Oldman) and we see a stuffed owl on the wall. That (and the bee scene) always seemed rather random to me. Or am I missing some deeper meaning?", "title": "Significance of the Owl in \"Tinker Tailor Soldier Spy\"", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><analysis><tinker-tailor-soldier-spy>", "link": "movies.stackexchange.com/questions/896", "author": "movies.stackexchange.com/users/29/System Down" }

[ [ " I say the owl, disturbed from his chimney, is a metaphor for betrayal or a secret let loose, a symbol of wisdom and a portent for Jim Prideaux of exposure, hence his prompt execution of the bird.", "The owl is a symbol of wisdom and a portent of exposure" ] ]

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[ 7 ]

[ [ "The owl is a symbol of wisdom and a portent of exposure for Jim Prideaux, a metaphor for betrayal or a secret let loose." ] ]

[ { "sents": [ { "text": "Fred was used as a bait by the zombies, evident from the trap set there.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This leads me to think that it was the zombies who took Fred out of the store and placed him (or it) at the location in the scene.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is only possible explanation I can think of.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/313/Incognito", "score": 25 } }, { "sents": [ { "text": "It's entirely plausible that Neville simply forgot that he placed Fred there in the first place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Don't forget, this is a man who has been living by himself for who knows how long (essentially trying to fool himself into thinking things are still 'normal' by playing video of morning programs, as if we were watching the normal morning shows), and although he had a regular routine, he could very easily have forgotten that he placed Fred there, especially since he forgot the trap he had set up there in the first place.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/260/Barry Hammer", "score": 12 } }, { "sents": [ { "text": "They are not zombies, therefore who's to question their level of intellegence?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It is a hybrid disease of measles and rabies, therefore I believe they set the trap in retaliation after he trapped the female \"dark seeker\" and left all of the evidence of his trap behind, and they just copied it to their favour.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4316/marc", "score": 10 } }, { "sents": [ { "text": "My interpretation of this scene is that Robert did in fact place Fred there, to keep a sense of normality as someone stated above.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After all, it isn't set in stone that the mannequins remain in the same place all the time.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I mean, who hangs out at a Movie Store?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Moreover, Robert is clearly going insane from being alone and in such a hostile environment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A normal person in their right state of mind would have seen the mannequin out of place from where they last remember leaving them, and rationalize \"Okay, how the hell did it get there?\"", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But he immediately swerved into a panic and began interrogating an inanimate object.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "While it's clear the mutants were changing in the movie", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": ", I doubt it's anything more than what Robert described.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That circumstances have caused them to ignore their basic survival instincts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "One might argue that the central male mutant we kept seeing in the film is more evolved than the rest --even sentient, but I see no reason to believe that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "What we saw in the movie was basic \"pack animal mentality\", essentially the male was the Alpha.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The natural leader.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Stronger, more aggressive, dominant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As for the \"meaningful eye-contact\", aside from that being for movie drama", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it's nothing but typical animal behavior.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Looking an animal in the eye is considered a challenge in the animal kingdom.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Ever wonder why your dog can't stare back directly into your eyes for long?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I'm of the firm belief he's simply flipped his lid and gone bananas, so to speak.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "After all, there were no indications in the movie that the mutants were showing any signs of intelligence", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "--in fact", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Robert himself states that their minds have completely diminished.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, there are signs left and right the whole time that Robert is simply a broken, lonely man in a hostile world that's constantly trying to kill him.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He went through that upwards of a thousand days.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Can anyone really testify they could last longer without snapping?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1640/Hunter", "score": 7 } }, { "sents": [ { "text": "This scene could possibly be interpreted in many ways.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "One possible way is if the zombies were smart enough to know where he lived at the end, they were probably smart enough to set a trap at night time.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/556/Vijin Paulraj", "score": 1 } } ]

{ "question": "Remember Fred from I Am Legend ? This is the scene . Any idea how Fred did get there in the first place?", "title": "How did Fred (mannequin) move outside the store?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><i-am-legend>", "link": "movies.stackexchange.com/questions/1292", "author": "movies.stackexchange.com/users/553/César" }

[ [ "One possible way is if the zombies were smart enough to know where he lived in the end, they were probably smart enough to set a trap at night time.", "if the zombies were smart enough to figure out where he lived in the end, they would have set a trap for him at night." ] ]

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[ 7 ]

[ [ "This scene could be interpreted in a variety of ways.\nOne possibility is that if the zombies were smart enough to figure out where he lived in the end, they would have set a trap for him at night." ] ]

[ { "sents": [ { "text": "Beginning in the late 1980s, Sony began marketing the concept of \"electronic cinematography,\" utilizing its analog Sony HDVS professional video cameras.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "The effort met with very little success.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In 1998, with the introduction of HDCAM recorders and 1920 × 1080 pixel digital professional video cameras based on CCD technology, the idea, now re-branded as \"digital cinematography,\" began to gain traction in the market.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In 1994 Sony executives approached Party of Five (FOX) producer Ken Topolsky and director of photography Roy H. Wagner, ASC, in an effort to photograph side by side tests with Sony's prototype High Def camera and 35mm film.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This resulted in one of the first network broadcast television series, FOX Pilot PASADENA (2001), directed by Diane Keaton, photographed by Wagner.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "The results were so successful, shown to directors and Industry decision makers at the Directors Guild of America and Society of Motion Picture and Television Engineers (SMPTE) meetings, that many were encouraged by the film like images.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Soon many series were considering HD originated image capture.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "In May 2001 Once Upon a Time in Mexico became the first well known movie to be shot in 24 frame-per-second high-definition digital video , using a Sony HDW-F900 camera, following Robert Rodriguez's introduction to the camera at George Lucas's ranch whilst editing the sound for Spy Kids.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In May 2002 Star Wars Episode II: Attack of the Clones was released having also been shot using a Sony HDW-F900 camera.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Two lesser-known movies, Vidocq (2001) and Russian Ark (2002), had also previously been shot with the same camera, the latter notably consisting of a single long take (no cuts).", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I've read the Digital cinematography wiki page .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can read more about that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Hope that's what you were looking for.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/613/Advicer", "score": 18 } }, { "sents": [ { "text": "Depending on how you define digital (I suppose the relevant part would be the bit that catches the light, an electronic sensor instead of chemical process), then Prospero's Books released in August 1991 may be a contender.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "See the tech ref on imdb.com.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's directed by Peter Greenaway, starring John Gielgud.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/30946/emtee", "score": 2 } }, { "sents": [ { "text": "Some of the answers on this page show some confusion about the difference between digital and hi-def formats.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The question is asking about the first feature film shot with digital cameras, not high def.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The correct answer, I believe, is the film Windhorse, shot in 1996 in Tibet and Nepal and premiered at the Santa Barbara Film Festival in 1998.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The film was shot on two different cameras, both digital - a professional Sony DVW-700WS (then still a prototype) and a prosumer Sony DCR-VX1000.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The film was edited digitally on an avid system and final post and color correction was done digitally at Roland House in northern Virginia.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/56808/Lhasan2", "score": 2 } }, { "sents": [ { "text": "Back in the day (1995)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I worked at a Motion Picture Camera rental shop in Boston and it was commonly known that the under the radar Hollywood re-make \"Sabrina\" (1995) had been shot on early HD video but to this day I don't see any credit for that, so maybe that is the first film.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/24012/Adam", "score": 1 } }, { "sents": [ { "text": "I know this is an old thread, but I just wanted to say Brad Anderson's Session 9 was shot using the Sony HDW-F900 camera mentioned by previous commenters.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I know other commenters have noted films that predate Attack of the Clones", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "but I thought this, too, was worth noting.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/38508/P-Train", "score": 1 } }, { "sents": [ { "text": "Rainbow was the first all digital film shot in 1995 in Montreal.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Directed by Bob Hoskins, DOP Freddie Francis Written by Ashley Sidaway.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Produced by Robert Sidaway and me for Winchester Pictures using Sony HiDef equipment.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/58210/Gary Smith", "score": 0 } } ]

{ "question": "Nowadays almost every movie is shot with digital cameras. I would like to know what was the first full-length feature film shot completely with digital technology instead of celluloid.", "title": "What was the first full-length feature film shot completely with digital cameras?", "forum": "movies.stackexchange.com", "question_tags": "<cinema-history><cinematography>", "link": "movies.stackexchange.com/questions/1578", "author": "movies.stackexchange.com/users/311/JuanZe" }

[ [ "In 1994 Sony executives approached Party of Five (FOX) producer Ken Topolsky and director of photography Roy H. Wagner, ASC, in an effort to photograph side by side tests with Sony's prototype High Def camera and 35mm film. This resulted in one of the first network broadcast television series, FOX Pilot PASADENA (2001), directed by Diane Keaton, photographed by Wagner. In May 2001 Once Upon a Time in Mexico became the first well known movie to be shot in 24 frame-per-second high-definition digital video ", "In 2001 Once Upon a Time in Mexico became the first well known movie to be shot in 24 frame-per-second high-definition digital video" ] ]

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[ 7 ]

[ [ "In 2001 Once Upon a Time in Mexico became the first well known movie to be shot in 24 frame-per-second high-definition digital video. Star Wars Episode II: Attack of the Clones was released having also been shot using a Sony HDW-F900 camera. Two lesser-known movies, Vidocq (2001) and Russian Ark (2002), had also previously been shot with the same camera, the latter notably consisting of a single long take (no cuts) The first network broadcast television series, FOX Pilot PASADENA (2001), directed by Diane Keaton, photographed by Roy H. Wagner, ASC, was shot with Sony's prototype High Def camera and 35mm film. Soon many series were considering HD originated image capture, including Star Wars movies." ] ]

[ { "sents": [ { "text": "Beauty and the Beast was originally a French fairy tale written by Gabrielle-Suzanne Barbot de Villeneuve and published in La jeune américaine, et les contes marins in 1740.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "An abridgement was published in 1756 by Jeanne-Marie Le Prince de Beaumont, in Magasin des enfants,", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "ou dialogues entre une sage gouvernante et plusieurs de ses élèves , with an English translation appearing in 1757.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "This places the story in the mid-1700s.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Both rifles and steam-powered machines had been invented by that time, so their inclusion in the story would not be anachronistic.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/213/Bill the Lizard", "score": 24 } }, { "sents": [ { "text": "It would at least be 1800 as the matches that Lumiere uses in be our guest were not invented until that time period.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/19949/Shawn", "score": 8 } }, { "sents": [ { "text": "In the Disney movie, the Eiffel tower is shown (during the song \"Be our guest\"), however construction of the Eiffel tower wasn't until the late 1880s, so it could have been set around then", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(or else it's sloppy work by Disney).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/7447/Emily", "score": 6 } }, { "sents": [ { "text": "In his tour Cogsworth refers to both the baroque period (1585-1700ish) and rococo period (1700-1770ish), and based on the costumes and hairstyles", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it could be as early as 1730 or as late as 1870 (excluding about 1780-1830).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Factoring in the technology, 1840-1860 is the most likely answer.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The fact that the beast is called a prince is questionable, but he clearly doesn't rule any kind of kingdom, and seeing as his castle is rather hidden in the countryside his family may have escaped the ravages of the revolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/31716/Jordan", "score": 4 } }, { "sents": [ { "text": "If you discount magical musical production numbers showing yet to be built iron work towers as evidence and only look at technology in use, clothing styles, and political sensibilities it very easy to realize it is set late 1790s up to early 1800s.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "steam powered machines exist they are pretty rare and mostly used in factories but the whole piston mess Maurice has going has existed since 1712 Gaston's gun is a blunderbuss which would be in use till the mid 1800s but by then there were much better guns.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "both Gaston and Beast wear tailcoats which don't exist till the 1790s Belle (not counting the yellow ball gown) and", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "the other young ladies don't wear big poofy dresses instead", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "their skirts look more like empire dresses.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "all the towns people seems to have zero qualms about storming a castle not something you would do if you know the royals have the power to throw you in prison, something they don't have after the French Revolution, 1789-1799.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "no one seems to be missing a prince who is hiding in a remote castle in the mountains", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/35231/Elcia", "score": 2 } }, { "sents": [ { "text": "I agree that it occurs in the mid 1700s because after 1789 there is no monarchy in France", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so the Beast wouldn't be royalty if the movie/book occurred after the French Revolution.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/None/", "score": 1 } } ]

{ "question": "The 1991 disney adaptation of Beauty and the Beast , we see several references to technology that seems out of place with the setting, including rifles and steam powered machines. It makes it hard for me to try and judge when the film would be set. Is there any official answer, on when the film is mean to be set?", "title": "What time era is the Disney version of Beauty and the Beast meant to be set in?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><beauty-and-the-beast>", "link": "movies.stackexchange.com/questions/1733", "author": "movies.stackexchange.com/users/1074/Pureferret" }

[ [ "Beauty and the Beast was originally a French fairy tale written by Gabrielle-Suzanne Barbot de Villeneuve and published in La jeune américaine, et les contes marins in 1740. Later on An abridgement was published in 1756 by Jeanne-Marie Le Prince de Beaumont with an English translation appearing in 1757. This places the story in the mid-1700s. ", " The story is in the mid-1700s." ] ]

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[ 7 ]

[ [ "Beauty and the Beast was originally written by Gabrielle-Suzanne Barbot de Villeneuve in 1740. An abridgement was published in 1756 by Jeanne-Marie Le Prince de Beaumont. An English translation appeared in 1757. This places the story in the mid-1700s." ] ]

[ { "sents": [ { "text": "There are two elements to this 1)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The whole story is told from the perspective of Red, who wasn't there at the time and told it with dramatic effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "2)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pressure may have built up and the explosion was a sudden release, afterwards the pressure was less.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Either way, it is pretty unpleasant.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1039/AlasdairCM", "score": 19 } }, { "sents": [ { "text": "I've done some more digging on this according to moviequotesandmore When the top of the pipe is broken open, it shoots a fountain, indicating that it is pressurized (if only by gravity).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But then the pipe drains nearly empty.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It should only have drained to the lowest point in the hole broken at the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "and there's an even more detailed discussion on Slipups That discusses such things as fluid dynamics , the angle of the pipe and the effectiveness of the shot i.e. getting the audience to feel revolted for what Andy had to go through.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I think that this was a deliberate mistake that the director decided would enhance the shot.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/430/AidanO", "score": 17 } }, { "sents": [ { "text": "I worked in underground utlities and sewage.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no reason.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The pipe diameter was not large enough for the fountain, so to speak.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The only way that the pipe would have produced this would be by a pump, and the pipe was breeched when the pump was working to release accumulated waste in some sort of tank.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I also think it was just for effect.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4921/Michael", "score": 8 } }, { "sents": [ { "text": "Dual use sewage system To keep from having open grates in the yard (security issue), and pipes along the outside of the building (climbing holds), rainwater from the roof might have been linked to go down the sewage line.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "If there was a heavy rain that created a backup pooled on the roof before he broke the pipe, and now the rate of rain had diminished, that backup would only started to diminish but still be putting pressure in the pipe.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "In this case, the water would fountain until the backup water on the roof was fully released.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sewage systems are designed to not have waste just sitting in a pipe.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "Waste sitting in a pipe causes sedimentation leading to a clog.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "If he is breaking out of prison in the middle of the night, what caused there to be a flow of anything in the system at all?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rainwater would explain why there was a flow in the sewage system.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/34503/Keeta - reinstate Monica", "score": 2 } }, { "sents": [ { "text": "I agree it was \"just for effect\".", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the pipe had had a DIP in it (and Andy had been operating at the \"dip\"), then pressure could have built up to create the fountain.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The dip would have to have been at least as deep as the fountain was high.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Problem with this is that the pipe would have remained filled and been unnavigable.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Yes a pump in operation at the exact moment of opening could have produced the fountain (and then astonishingly conveniently ceased five seconds later) -- but it seems clear the system was \"gravity fed\" and not pumped (therefore the pipe carefully laid without dips).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There is no conceivable way for there to have been fluid pressure sufficient for the fountain, AND then for the pipe to be mostly empty.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The \"shock value\" was for audience sympathy (\"EEEWWWWWWW!\"), most not realizing it was after all just water, sawdust, and chocolate syrup...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I want to know how he knew there was going to be a STORM that night -- escape would have been so much harder without the covering thunder (and natural bathing).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And how did he get to town, where did he change,", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "when did he buy the car, why there weren't roadblocks, etcetera...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Let's pretend the town was near enough for walking", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(he had nearly all night), the rain ceased, and midway he found a closed gas station with an unlocked bathroom for changing & grooming.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He visited one bank in town under the first alias (\"Stevens\") receiving enough cash to buy a car; which he did, under his second alias.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He then drove to other TOWNS (the movie states \"nearly a dozen banks in the Portland AREA\"), therefore eluding road blocks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "As he drove away from the first bank, he stopped long enough to buy the volcanic-glass-rock and the tin, and plant the already-written letter at the Buxton field", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "(he had a lot of time to prepare as he worked in Norton's office).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The glass rock could have been left 20 years ago as a memento, but he couldn't have been sure it would still be there; he likely knew where he could buy one to mark the tin.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "THEN he drove to other towns and emptied the other accounts as fast as he nonchalantly could, then he headed South to Fort Hancock in his new convertible with with the sun sparkling off the ocean in his eyes, cool breeze stroking his hair, and an incredible song of freedom singing in his heart. ;-)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/37194/Gadgeteer", "score": 1 } } ]

{ "question": "I have a question regarding the end of The Shawshank Redemption when Red is narrating Andy's escape - can some one explain why the pipe erupts when Andy breaks it when he is escaping from Shawshank? I would understand if the pipe was under constant pressure, but in the next scene we see that the pipe is only a partially filled. Was this a goof or is the a logical reason for it?", "title": "Why did the pipe explode in The Shawshank Redemption?", "forum": "movies.stackexchange.com", "question_tags": "<plot-explanation><the-shawshank-redemption>", "link": "movies.stackexchange.com/questions/1821", "author": "movies.stackexchange.com/users/430/AidanO" }

[ [ "Pipes along the outside of the building to remove rainwater from the roof might have been linked to a sewage line. So, if there was heavy rainfall that had created a backup in the pipes after breaking the pipe the water wouldn't stop coming out of it until all the water from the roof was released.", "Sedimentation occurs when waste sits in a pipe, resulting in a blockage." ] ]

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[ 7 ]

[ [ "Rainwater from the roof might have been linked to go down the sewage line. Heavy rain could have created a backup pooled on the roof before he broke the pipe. Sewage systems are designed to not have waste just sitting in a pipe. The water would fountain until the backup water on the rooftop was fully released.Sedimentation occurs when waste sits in a pipe, resulting in a blockage." ] ]

[ { "sents": [ { "text": "Inception Wiki 's article on Cobb suggests: His Totem is a spinning top which formerly belonged to his wife, Mallorie Cobb.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is separate from his wedding ring which is a dream based object and thus cannot be a totem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Which supports the theory of the ring being a dream-only occurrence and not his totem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I have seen a few theories support that his ring was his original totem when Mal first suggested them.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "From that, you can conclude that he took Mal's totem because of his guilt over her death, adopting something in the world that was her's to keep her close even outside of his dreams.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the overall story, this ring only helps support the purposely cryptic nature of this movie, deceiving and explaining the occurrence of events and objects in more than one way in order to further the ending which is basically to leave the big questions of Is he still dreaming? or What was actually real?", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/130/Tablemaker", "score": 21 } }, { "sents": [ { "text": "The ring theory is interesting but I personally find it hard to believe it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "My problem is that I also see conflicting issues with the spinning top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "First of all it is my opinion that the top is a poor totem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If its sign is to spin forever in a dream, or fall over in the real world it seems too obvious and too easy for someone else to dream that behavior if they have seen Cobb use it or describe it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Arthur will not let someone touch his weighted dice, and Ariadne has a chess piece who's properties only she can tell - so no-one else can dream the behavior correctly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "These seem like good totems.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This makes me think that perhaps the top is not his totem and that as someone who trusts few people, perhaps the top is a decoy.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Contrary to this however, when Cobb is distressed by the dream he experiences in Mombassa, he wakes up goes into the washroom and spins the top and is interruped by Saito.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If the ring (or something else unknown to us) is his only or primary totem then to perform this display of spinning the top seems unnecessary as he thinks he is on his own - particularly as he seems hurried to try to use it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If forced to choose between the top and the ring, I would reluctantly choose the top as his totem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Perhaps he knows something more about its physical properties that we have not seen.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/40/iandotkelly", "score": 10 } }, { "sents": [ { "text": "It is very possible that Cobb used two totems.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "His wedding ring and his wife's spinning top.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "It's probable that his wedding ring was his original totem.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "After she died though he was able to use her totem as he was the only other person to have ever touched it and known it's properties.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "I found this really great article that wraps up the questions I had about Inception", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://screenrant.com/inception-spoilers-discussion-kofi-68330/", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It makes a bunch of great points and is endorsed by Christopher Nolan according to the site and related article.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The main thing about Cobb is that he obsessively questioned his reality.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it's very possible that he had a the known totem, a spinning top and another unknown totem his wedding ring.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/645/Kevin Howell", "score": 7 } }, { "sents": [ { "text": "The spinning top seems to serve a different purpose from the other totems as it show's Cobb whether or not he is dreaming rather than distinguishing between his dream and someone else's.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "So it makes sense that he would carry another one.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Also because he is the best extractor it makes sense that he would be a lot more secretive with his totem.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/3820/Dónal", "score": 4 } }, { "sents": [ { "text": "Cobb as a character to take you (the viewer) through the movie doesn't have a trust worthy perception of reality.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In my opinion Cobb uses the top to keep Mal locked away, by taking it out and spinning it after every bad dream interaction with Mal he reminds himself that she is dead and it was all a dream.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Its not his token.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He never said it was his token, Arthur was explaining token while he (Cobb) spun the top in the next room.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you watch the movie, you'll notice that after every non Mal related exit from the dream Cobb glances at his left hand as if he has a watch (which he doesn't have).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I believe he's checking his ring finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "He only spins the top to assure himself that, yes his wife is dead and yes the real world sucks.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/7966/user7966", "score": 3 } }, { "sents": [ { "text": "the top isnt his totem, it was hers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "he would have had a totem if his wife suggested it . .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "of course not being the top.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The top helps him decipher real and dream, but kept it has a mememto of his wife as he had to break the secret of his wife ie the safe, he didnt know what it was until he found it then planted his idea all the while knowing what his real totem and state was.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "it doesnt matter what his totem was (to us)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "so as long as we know that the actions of the top tell us that he suspects he is not in the real world.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4299/user4299", "score": 1 } }, { "sents": [ { "text": "At the end of the movie, in his dreams Cobb lets go of his wife.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "His subconscious resolves his issues with his wife, recognizing that she is no longer needed.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "And hence, at the end even though he is in his dreams, there is no ring on his finger.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/9726/vkshah2", "score": 0 } } ]

{ "question": "In Inception, Cobb was wearing his wedding ring in some scenes and in some scenes he doesn't. After watching the movie so many times, according to me, in every scene of a dream he was wearing his wedding ring and in every scene of reality he was not wearing his ring . If this is true, what was the necessity of the totem? Instead, he can easily use his ring as totem to identify what is a dream and what is reality.", "title": "What's the significance of Cobb's ring in Inception?", "forum": "movies.stackexchange.com", "question_tags": "<analysis><inception>", "link": "movies.stackexchange.com/questions/1832", "author": "movies.stackexchange.com/users/556/Vijin Paulraj" }

[ [ " It is very possible that Cobb used two totems. His wedding ring and his wife's spinning top. It's probable that his wedding ring was his original totem.", "Cobb may have used his wedding ring and his wife's spinning top as his totems. After she died he was able to use her totem as he was the only other person to have ever touched it." ] ]

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[ 7 ]

[ [ "Cobb may have used his wedding ring and his wife's spinning top as his totems. After she died he was able to use her totem as he was the only other person to have ever touched it." ] ]

[ { "sents": [ { "text": "If you look closely, you'll almost always note that the mirror is angled so the camera is out of its view.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is sometimes masked by the actor looking directly into [the reflection of] the camera, which gives the impression that he is looking at himself in the mirror.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However, there are at least two other options for getting a shot in which the camera should, by rights, be visible but isn't:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "one is using visual effects (optical or CGI) for the reflection.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The other was used by James Cameron in Terminator 2 : Cameron wanted a trackingshot (camera moving sideways) behind Linda Hamilton removing a chipfrom Arnold's head in front of a mirror.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If done with a mirror, thecamera would have been visible as it moved around behind the actors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Rather than do this with effects, the set was built so that the mirror was actually a window, and on the other side was a complete mirror-image version of the set on the camera side.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Schwarzenegger and Linda sat on the far side facing the camera, and a fancy Arnold puppet and Linda's twin sister sat with their backs to the camera, mimicking all of the moves of their counterparts.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Other examples of this are: In the case of Being John Malkovich , where the shot was from his POV the camera man just stood in front of an empty frame in the wall withMalkovich standing 'inside' the wall on a reverse set of the scene...", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the bad attempt of Sucker Punch scene in the dressing room when Sweet Pea, Rocket and Blondie talk about not helping Baby Doll, their movements not matching their mirror images ( especially Sweet Pea's ).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Doubles are being used.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "This is done so the camera can move behind them without being reflected.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can watch it at this link", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/1190/Ankit Sharma", "score": 196 } }, { "sents": [ { "text": "Black Swan featured several shots in mirrored dance rehearsal studios where the crew were digitally removed - see below", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/4753/Paul Dixon", "score": 29 } }, { "sents": [ { "text": "One simple way is to use tilt-shift lens .", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "It's often used by photographers for static images although I'm not sure if it's commonly used for animated movies or not.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Simply put the camera aside from the mirror then shift the lens towards it.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The perspective will be fixed by the lens so that viewers will think that the camera is in front of the mirror.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "However those lenses are very expensive so nowadays people may use a normal lens then correct the perspective later by Photoshop, Premiere or similar software.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Update", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "There's a great demo video on that.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Thanks Rob for the comment", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Read more:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "http://nofilmschool.com/boards/questions/removing-camera-mirror-scene http://www.cinematography.com/index.php?showtopic=59036 https://www.quora.com/How-are-mirrors-filmed-without-the-camera-appearing-in-shot-without-CGI", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "But for complex scenes people will have to use CGI anyway", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/15356/phuclv", "score": 23 } }, { "sents": [ { "text": "There are several techniques when mirrors or reflective surfaces are involved in movies.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "One is simply to remove digitally the camera and the crew that could appear in the reflection.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Sometimes this (already classic) technique involves taking pictures of the real set, and using them to \"cover\" what should not be in the image.", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "And a more interesting technique is to use another cameras to capture \"what should be seen in the reflection\".", "label": [ 1 ], "label_summ": [ 0 ], "cluster_id": [ [ 0 ] ] }, { "text": "This means that the main camera keep the story going, but another cameras placed in strategic points register what might be seen in reflective surfaces.", "label": [ 1 ], "label_summ": [ 1 ], "cluster_id": [ [ 0 ] ] }, { "text": "Example of this could be seen in Divergent (2014) and Snow White and the Huntsman (2012)", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Divergent example: http://www.fxguide.com/featured/divergent-making-the-mirror-room/ Snow White and the Huntsman example:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/21013/Gonvar", "score": 14 } }, { "sents": [ { "text": "There are many ways to do it, depending on the scene.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "A common way to do it is with post processing, by covering the camera with an image of the same static background before placing the camera.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "example:", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/9031/Gomunkul", "score": 6 } }, { "sents": [ { "text": "This is a very old question, and there are some good answers.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I just wanted to add another excellent example from the movie White Nights (1985), starring Gregory Hines and Mikhail Baryshnikov.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "In the scene where Gregory tap dances in a studio, the camera pans with him as he runs in front of a wall of mirrors.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can see it at 2:11 in the YouTube video below.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "I had to watch the movie twice in a theater to figure out how they did that!", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "If you look closely, you'll notice that Gregory's reflection disappears briefly.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "That's because the two mirrors that should be reflecting the camera are actually angled slightly away.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Specifically, the mirror to the right of the camera is angled to the right, and the mirror to the left of the camera is angled to the left.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "Neither of them reflect the camera.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "You can see this when Gregory runs past; his reflection disappears for a few frames.", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] }, { "text": "The third picture above doesn't show his reflection (and not just because he's blocking it).", "label": [ 0 ], "label_summ": [ 0 ], "cluster_id": [ [ -1 ] ] } ], "answer_details": { "author": "movies.stackexchange.com/users/8017/BrettFromLA", "score": 6 } } ]

{ "question": "It always makes me wonder how do they place the cameras and crew members while filming a scene which is opposite to a reflecting object, such as mirror. Because, when filming the reflected objects we should see the camera and cameraman because of their reflection. But this does not happen in the movies. How do they film the scenes with an actor facing a mirror? Why don't we see the cameras and crew? What is the technique they use to film the scenes with reflecting objects?", "title": "How do they film the mirror scenes in movies?", "forum": "movies.stackexchange.com", "question_tags": "<film-techniques>", "link": "movies.stackexchange.com/questions/2190", "author": "movies.stackexchange.com/users/556/Vijin Paulraj" }

[ [ " There are several techniques when mirrors or reflective surfaces are involved in movies. One is simply to remove digitally the camera and the crew that could appear in the reflection. And another technique is to have the main camera keep the story going, but another cameras placed in strategic points register what might be seen in reflective surfaces.", "There are several techniques when mirrors or reflective surfaces are involved in movies." ] ]

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[ 7 ]

[ [ "There are several techniques when mirrors or reflective surfaces are involved in movies. One is simply to remove digitally the camera and crew that could appear in the reflection. Another more interesting technique is to use another cameras to capture \"what should be seen in the reflections\"" ] ]