Music Theory

accelerando

In a song, there should be an intro, chorus THEN verse one. After each verse, there should be a chorus. But I'm not saying a song should be written like this:

Hey, little monkey

HEy hey hey!

Little little monkey

In da tree eating banana YUM YUM YUM

Yum banana

Then another 3-line verse, then chorus. (That was a really stupid song lol).

If the verse is less than 6 lines (5 lines is the only exception), there probably shouldn't be a chorus after it. Usually in my songs, I put a chorus after 2 verses, but the conventional form is to put a chorus after 1 verse. It all depends on how you want the song to be written. If you want to have a chorus after more than 3 verses, your song should be extremely long. If your song is for an audience, I wouldn't suggest putting a chorus after more than 3 verses, because then the song would have to be long and the audience would get bored.

Good luck!

is this what you are asking?

in music theory in any given key, take the 1st key for example. C

write down c to c

C D E F G A B C ................then number them, music is math.

1 2 3 4 5 6 7 8/1

145 are major .............. 236 are minor........ 7 is diminished or m7flat5 or 5over7

so you have C Dm Em F G Am,,, b the leading tone in contemporary music is 5over7 = G/B,,,

most songs are 145 progressions, C,F,G, (any order)

the minor key to any major key is number 6,,, thus Am

start on 1=C your in a major key

start on 6=Am your in the minor key they both use the same chords

major is more upbeat and lively where minor is more melodic, bluesy, moody.

did this answer your question? if not, please explain exactly what your asking

and i will be more than happy to help you. thank you.

The G clef (Treble) is so named because the circle at the bottom part of it, goes around the G line of the treble clef.

The F clef (Bass) is so named because the two dots following the backward C are on either side of the F line of the bass clef.

True

A very popular example of Classical accompaniment based on triads is the Alberti bass, initially developed by Domenico Alberti (1710-1740).

Alberti bass is a kind of broken chord/triad or arpeggiated accompaniment, where the notes of the chord are presented in the order lowest, highest, middle, highest. For example, if a C major chord was being played in root position, the order would be C-G-E-G.

A sharp key signature is one that contains sharps.

F major is

F - G - A - B flat - C - D - E

the A and B flat are a semitone apart. (3rd and 4th)

the E and F are a semitone apart (7th and 8th (1st))

It is the same in all major scales (3-4 and 7-8 are always a semitone apart)

The beat of Music is the number and type of counts per bar, this keeps the music in a consistent speed (unless directions given). In a orchestra, the conductor keeps the beat in order to keep all the instruments playing in time with each other.

A scale!

That's tricky. It depends on what the other notes (either around or in combination) are; it's a context thing. In other words, it would depend on the harmony and how the note was being used. For example:

Lets say the root of the I chord (here, an E Major triad) was going up in a chromatic line to the notes E#, G# and B, to make a #I diminished triad (E#°) that wants to resolve up to the IIm chord (the F# minor triad) - then the root of that second chord would be an E# - because it is acting like a raised tonic degree [ in solfege the "do" is raised to a "di" ].

However, if the notes F, A and C are used (an F major triad) then we here this as a bII chord (a flat two chord - a type of seconady dominant) which will want to resolve downward to the I chord (the E major triad). Here, we hear the note as a lowered second degree [ in solfege the "re" is lowered to "ra" ]. Again, it depends on context and where that chord (or even just the single note) resolves to to understand what to technically call it.

Having said all that, there could be a flat II diminished chord (in theory) and most people are okay with the enharmonic ambiguity because F is an easier note to conceptualize (for many people) than the note E#. But it usually comes down to the context of usage of the note in question; in other words - it could be either depending on how it's being used.

Pentatonic scale in Greek means five tone scale.

phrase

It depends on the time signature.

4, or subdominant.

Alto clef actually indicates the position of middle C. Whatever line goes through the center of the clef is C.

Normally the waltz is in 3/4 :)

No

Chopin - Fantasie Impromptu Op. 66

Twinkle Twinkle Little Star

All notes look similar. The difference is the line or space it is placed on and its stem.

The beat of a march is normally in two (2/4) and a waltz in three beats (3/4) to the bar. Certain marches often called concert marches are written in four (4/4), but as the name suggests are not for marching. Marches written in 6/8 time are quite common (many Sousa marches are written in 6/8) these are always played with a two to the bar beat.

One beat.

To get the number of 32nd notes in a measure, first, multiply the number on the top of the time signature by 32, then divide it by the number on the bottom half. Another way is to use the time signature as a fraction, the top being the numerator and the bottom being the denominator, then multiply that by 32.

Examples:

2/4: 16

3/4: 24

6/8: 24

4/4: 32

2/2: 32

9/8: 36

12/8: 48

It is a D minor chord, composed of the notes D (root), F (minor third) and A (perfect fifth). It is very often played with the minor seventh, C. In this case it would be written as Dm7.

The order of the sharps is F, C, G, D, A, E and B. In that order.