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Old 02-09-2014, 11:28 PM   #17161
macashmack
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In sonata form, is it necessary for the second theme in the exposition to modulate to the key of the fifth? Or can it be any key?
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Old 02-10-2014, 12:34 AM   #17162
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Originally Posted by macashmack
In sonata form, is it necessary for the second theme in the exposition to modulate to the key of the fifth? Or can it be any key?

The most typical modulation for a sonata form in a major key is to the dominant, and in most Classical period sonata forms that's what you'll almost always see. That said, it's not a rule and in later sonata forms all sorts of modulations took place. Beethoven was particularly fond of mediant relationships, for example.
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Old 02-11-2014, 11:50 AM   #17163
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Anyone here know much about symbolism in Baroque music? I'm looking for anything specifically relating to melancholy as an affect or aesthetic emotion, and symbolism of various devices, such as descending chromatic lines, the chromatic whole, and circle of fifths progressions (namely ascending, I'm not expecting any kind of inherent symbolism in descending circle of fifths, as they sort of just happen!). If anyone can point me in the direction of anything that might contain some reference to anything of the sort, it would be much appreciated.
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Old 02-18-2014, 07:00 AM   #17164
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Hurt my arm back in October during work hours... no idea how, but it hurts like hell at times. Got so painful I couldn't really use it much, muscle deterioration feels so awesome. Even the most basic necessary survival skill of lifting one's cup of coffee to have a sip is excruciating. So now there's this little frightening reality creeping in that I'll have to start from the beginning again... and, well, it really is scary

Left hand fkd... for now... sniff
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Old 02-18-2014, 08:03 PM   #17165
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Muscle deterioration doesn't effect coordination and learned skills. You may (in fact, probably will) have to do some exercises to get strength and agility back, but this is separate to developing the neurological pathways that tell us to do a particular motion and a particular time. Some things may feel different, but it certainly won't be starting over.
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Old 02-19-2014, 01:19 AM   #17166
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sniff.. those exercises mean starting over, for me at least. Damn it
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Old 02-23-2014, 08:24 PM   #17167
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Old 02-23-2014, 09:13 PM   #17168
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I vaguely remember you being cool, so
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Old 02-24-2014, 05:54 AM   #17169
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Oh hey Sophist!
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Old 02-26-2014, 03:46 PM   #17170
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I've been playing some bass last few months and when trying out stuff, it seems low pitched powerchords sound weird/bad. They start sounding fine around A-B (normal tuned 4 string). Is this just me or is this a thing that has a reasoning behind it? I don't know how to explain it, it just sounds off or somehow "not right".

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Old 02-26-2014, 04:02 PM   #17171
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I don't know the science behind it, but generally the lower in register you go, the more dissonant sounding even unassuming intervals like fifths become. It's why in orchestration, for example, it's not recommended to have close spacing between notes in lower registers. Try playing major thirds or fifths in a very low register on a piano and you'll hear the same thing.
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Old 02-27-2014, 09:55 AM   #17172
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Stop.



Hammer time!
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Old 02-27-2014, 01:08 PM   #17173
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Does this mean we can call Mahler the original hip-hop?

I like the fella covering his ear, then the guy under him is totally surprised about when the hit comes.
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Old 02-27-2014, 04:43 PM   #17174
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Quote:
Originally Posted by Nietsche
I don't know the science behind it, but generally the lower in register you go, the more dissonant sounding even unassuming intervals like fifths become. It's why in orchestration, for example, it's not recommended to have close spacing between notes in lower registers. Try playing major thirds or fifths in a very low register on a piano and you'll hear the same thing.


Thanks.. I was wondering why there seems to be dissonance when it "shouldn't". Yes, low 3rds even worse. This is quite interesting actually, maybe it can be useful to use for effect some time.
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Old 03-02-2014, 05:48 PM   #17175
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Sorry if this seems like a really stupid question, but I'm trying to get the whole mode thing stratight in my head, once and for all.

So reading the theory FAQ, it's giveing examples of the notes nad intervals of the differnet modes based on the c major scale.

It says C major scale = C D E F G A B and the C Ionian mode (being intervals 1234567) = C D E F G A B (same as c major). Whats confusing me is it says D Dorian has the intervals 1 2 b3 4 5 6 b7, giving the notes D E F G A B C ?? To me, based on the intervals given, I would say the notes should be C D Eb F G A Bb?

What am I missing here?

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Old 03-09-2014, 11:25 PM   #17176
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when you play lower notes, esp when you dip around or below that low E, you're hearing as much as/more fundamental than the actual note


thankfully theres no real need to use power chords in the lower ranges on a bass as you can't get that thick, percussive attack that makes them sound like power chords in the first place. just stick to M7no5s in the higher registers with the real OGs
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Old 03-12-2014, 07:50 AM   #17177
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The fundamental is the actual note. But yes, you're right, the lower the fundamental, the more of the harmonic series will be in our hearing range. So even when you play a perfect 5th in low registers, the harmonic series for both notes will start to produce dissonances. Hell, even if you play a single note, if you get enough of the upper harmonics, there will be dissonance.

This is the reason that if you play chords in the very high register of the piano (provided they're in tune of course, which the piano isn't, at least in this sense) they sound so pure and clear. The harmonics quickly shoot out of our range of hearing, so we pretty much will just hear the note and maybe a couple of harmonics.
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Old 03-12-2014, 08:48 AM   #17178
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That does make a lot of sense. It's one of those things you just know and never wonder why it happens. I'd never even seen that issue discussed.
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Old 04-21-2014, 08:10 PM   #17179
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Old 04-21-2014, 08:14 PM   #17180
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