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Thread: Music Theory Questions- Ask Away

  1. #21
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    Thanks for all the info. This. Is great stuff, and the way you explain it makes sense.

    This thread should be made a sticky,

    Any chance you have an book or ebook of theory available?

    Ivan
    Last edited by Olarte; 02-22-2012 at 05:26 PM.
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  2. #22
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    Ivan- Thanks, glad it's helping. I should put it all in a book, it would compliment the others nicely.

  3. #23
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    I got one more. How do you go about finding the key of a song, or better yet, of a classical or instrumental piece? It's not always apparent, especially if it's in a minor key.

    And why is some music written in a flat key vs. their corresponding sharp key? Ie, B flat instead of A sharp?
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  4. #24
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    I second the proposal for a book Aaron, I like your style! This is as good or better than any other how to book that I've bought...
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  5. #25
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    Thanks a ton Aaron.

    This should be "sticky'd"

  6. #26
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    OK, two good questions.

    Most songs (but not all) begin and end on the same chord, which is the key of the song. So, if the song begins and ends on a D chord, the key is likely D. Also, melodies usually begin and end on notes that are in the I chord of the key. So if the song begins and ends on a D F# or A, it is likely in the key of D.

    Or, if the chords seem to be different, but all the melody notes are in a certain key, it is likely in the key that all those melody notes belong to.

    It is more common for a song to begin on another chord but end on a I chord. Such as midnight special, which is IV I V I or rag mama rag, which is VI II V I.


    BUT!!!!

    There are many exceptions!

    The only good answer is, the more "puzzles" of this sort you solve, the more likely you can solve more. Is there a specific song/piece/tune/etude that you are trying to figure out?

    Also, if it is written music, don't forget that the key signature is usually a dead giveaway.

    Now, for your question of flats vs sharps.

    Many pitches can be represented by either flats or sharps. For instance F# is also Gb. D# is also Eb. In a way, these issues are arbitrary. The note sounds the same, but we put a different label on it according to the context in which it is presented.

    Because the classical guitar (which I notice you are studying) has open E A D G B E strings. (all of those keys have sharps in it) Guitarists are likely to play in keys that have sharps in it. Like G, D, E, A. That way, we get to use our open strings and play idiomatic things that fit well on our instruments.

    Horn players like clarinet, trumpet, sax, french horn, trombone, etc...more naturally blow in flat keys like F, Bb, Eb, Ab or C (which has no sharps or flats)

    That means, when people in each of these cultures extend themselves into foreign keys (like B, F#/Gb, C#/Db, G#/Ab, they are likely to use either sharps or flats to label it according to what is comfortable to them.

  7. #27
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    You explain things very well. It makes it really easy to comprehend. Thanks for all the info!

  8. #28
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    hi Aaron,
    i run a ukulele club and we are having trouble with intro's and outro's, is there a simple way or rule of thumb way we can add a simple intro and outro to our songs because we get about 20+ players and even though i count them in on a song some tend to lose the beginning and then are behind losing the timing, hope you can help or point me in a direction where i can find help thanx in advance kaizersoza
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  9. #29
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    Why are the some intervals named perfect intervals? (perfect 4th/5th)
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  10. #30
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    hey folks

    A good job Aaron.. real interesting. They should call you "the well spoken american".

    Ladies and gents the man not only builds a world class uke... now he is posting the instruction manual..............


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