The same way you read any other sheet music. We can't teach you how to do that here.

There is one tricky bit: Saxophones are "transposing instruments" ... playing saxophone music on a non-transposing instrument like a piano will result it in being at the wrong pitch.

If there are 4 flats in the key signature it means the key is either Ab Major or F minor.

g e c a

Three sharps mean the piece is played in the key of A. If one sharp is in front of Middle C, you play C sharp. If two sharps are in front of Middle C, you play D. If three sharps are in front of Middle C, you play D sharp.

The term "retrograde" can be used in (at least) two contexts.

First, a retrograde progression refers to chord root movement that is opposite to the usual direction of resolution. The most common example is a subdominant progression (IV -> I).

Alternatively, the term may be applied to a sequence of notes which is a reversal of a previous fragment in a melody, theme, voice or motif.

The strings.

A drone is a long sustained (held) note that underpins harmonic movement above it. Drones are often used in traditional Indian music.

it isn't specified, but he was raised with a foundation of faith & religion. (:

The most important note of a chord is the tonic, followed by the third and the seventh, as they are what determines the quality of the chord (i.e. Major, minor, diminished etc.)

Actually, the 7th only comes into play if it's a chord that includes the 7th. A major chord is the tonic, third, and fifth. A minor chord is the tonic, flat third, and fifth. A diminished chord is the tonic, flat third, and flat fifth. None of those chords (also several others) include the 7th.

Paul McCartney.

Tempo di valse is a common tempo used in waltz arrangements. It indicates to the conductor that the piece should be conducted in 2. For example, making three quarter time into six eighths. Ultimately, it does not create much of a variance, but it is a heads up. 3 -> 6 when in Tempo di Valse (in 2)

4 -> 8

If the time is 4/4, the following notes would be:

A quarter note (1/4 or 2/8) of the measure)

A half note (2/4 or 4/8) of the measure

2 eighth notes (2/8) of the measure.

Homo- : 1

phon : sound

-ic : adjective

Texture : the feel of an object

so pretty much, if you had a melody played over one chord it would be an example of homophonic texture. Also Bagpipe music has a lot of homophonic texture in the concert Bb that plays under every note.

Yes, they were the bards so to speak of the Middle Ages. They wrote their own and no doubt borrowed poems/song from one another and epic poem writers.

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Troubadours were among those who composed medieval music. There were others also.

Most of the cases is used Italian. Also german and french is often used to describe tempo indications

Notation. Nomenclature. Note-row.

It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians, who, in turn, considered Hermes the founder of the art. According to one legend, this god constructed the first lyre by stretching strings across the concavity of a turtle shell. Both Isis and Osiris were patrons of music and poetry. Plato, in describing the antiquity of these arts among the Egyptians, declared that songs and poetry had existed in Egypt for at least ten thousand years, and that these were of such an exalted and inspiring nature that only gods or godlike men could have composed them. In the Mysteries the lyre was regarded as the secret symbol of the human constitution, the body of the instrument representing the physical form, the strings the nerves, and the musician the spirit. Playing upon the nerves, the spirit thus created the harmonies of normal functioning, which, however, became discords if the nature of man were defiled.

While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.

One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple. By similar experimentation he ascertained that the first and third string produced the harmony of the diapente, or the interval of the fifth. The tension of the first string being half again as much as that of the third string, their ratio was said to be 3:2, or sesquialter. Likewise the second and fourth strings, having the same ratio as the first and third strings, yielded a diapente harmony. Continuing his investigation, Pythagoras discovered that the first and second strings produced the harmony of the diatessaron, or the interval of the third; and the tension of the first string being a third greater than that of the second string, their ratio was said to be 4:3, or sesquitercian. The third and fourth strings, having the same ratio as the first and second strings, produced another harmony of the diatessaron. According to Iamblichus, the second and third strings had the ratio of 8:9, or epogdoan.

The key to harmonic ratios is hidden in the famous Pythagorean tetractys, or pyramid of dots. The tetractys is made up of the first four numbers--1, 2, 3, and 4--which in their proportions reveal the intervals of the octave, the diapente, and the diatessaron. While the law of harmonic intervals as set forth above is true, it has been subsequently proved that hammers striking metal in the manner

Four. Two eighth notes equal a quarter note, and two quarter notes equal a half note.SO, this is the correct answer

B Major

"Bm" would make it B Minor...

B minor

Si menor

H-moll