Q. what are the cords that are played with the left hand?
can you give me the cords in this form
1st:c#df (made up chord)
I mean right hand! But you can go on and post the left to.. just seperate them
A. Here you have the chords along with the lyrics (see first link below). I got that from a guitar tab website, so I'm not sure which hand it is (I'm a guitarist myself). Maybe the video in the second link can help you further...
chopsticks on the piano?
Q. I really want to impress my mom by learning the song "chopsticks" on the piano. I can't read music, but i know the abcdefg chords and where they are. Can you just tell me what those notes are for it. My mom already taught me the beginning where it goes: fgx6.... yeah. i don't need instructions or anything just tell me, for example: bagabbb...
thanks:)
I will be taking lessons soon and how to read music. So don't tell me I have to do that first because I already taught myself, Mary had a little lamb and twinkle twinkle little star
A. The first part of chopsticks is:
do two times:
fg - 6x's
eg - 6x's
db - 4x's
ea - 1x
cc - 3x's
The second part:
Play two times:
ce - 1x's
bd - 1x's
ac - 1x's
gb - 1x's
fa - 1x's
eg 4x's
fa - 1x's
eg - 1x's
df - 4x's
eg - 1x's
df - 1x's
ce -3x's
How do you compose tuplets 3 against 2?
Q. I would like to know how to compose tuplets of odd numbers against even numbers on a piano (or orchestra). I've been composing myself and I love to compose 3 against 2 because it sounds so different (refreshing) and nice. I enjoy listening to Chopin's crazy 7 on 2 tuplets.
So how do you compose something like that without the harmony going out of whack? Are there any rules (guidelines) on producing something like this?
If you can link any articles or documents to read on, I'd really appreciate it!
A. I detect in the way you've put your question the kernel of a misconception.
An opposed ratio tuplet does not exclusively 'require' each beat of the tuplet be a new or separate pitch. Of course there are instances of just that, and at times that alone has become the premise for a brilliant piano etude or two.
There are no rules. That I know of, there are no books and / or few articles. There are examples, pointed out in lessons here and there (in playing or theory) and in harmony and orchestration texts.
After grasping the basic mechanical premise, you are on your own to use the technical device, it is to be hoped, in a fully musical way.
Ratio to ratio tuplets are commonly used in doublings as a mere texture, or as a guitar might strum a chordal harmony as accompaniment against another tuplet carrying more of the melodic material. Several of them may rustle together, animating what would otherwise be too static a sustained sound over one harmony.
Doubling as texture, here (I am without score) I believe 6:4 (translate 3:4) in the two celli in their tenor range, is a 'rustling / restless' texture set in the center range of the overall activity. The intervals are the harmonic underpinning for the short melodic phrases in dialogue above, with a Stravinskian trademark syncopated polar shift ostinato of two notes in the bass.
The effect, as it is dramatically placed after a broad quasi-coda, is somewhat magical. The passage is relatively brief.
Stravinsky. Concerto in E-flat, Dumbarton Oaks, 2nd movement, Allegretto, the effect is @ 1'44''
http://www.youtube.com/watch?v=5iuLZH6DMdY&feature=related
As chordal accompaniment, here, very much triads, their inversion, or as thirds in the orchestration. The configuration travels around from the solo piano throughout the orchestral fabric -- note well the tuplets are repeated notes -- threes against the twos (eighths) or fours (sixteenths) make a constant shifting, keeping motion more afloat, harmony more 'active' while actually being a somewhat slow and relatively static affair. Over this, 'an idealized aria freed of the constraints of the human voice.'
Mozart, Piano Concerto No. 21 in C, K467, ii Andante
http://www.youtube.com/watch?v=df-eLzao63I&feature=related.
Debussy Arabesque No 1. by ear, looking at score, simple: chordal accompaniment in a configuration in use for hundreds of years, treble a melody-like harmonic business with a few 'non chord' tones. The whole piece more harmonic study than melodic.
http://www.youtube.com/watch?v=Yh36PaE-Pf0
The finale of Debussy's La Mer symphony is a fair riot of polyrhythms and tuplets. This is a good example to remind you that within any of the tuplets, the rhythm does not have to sound out each beat, i.e. if one tuplet is four sixteenths there is no reason your musical need could not be for a dotted eighth and one sixteenth for that group, with another distinct rhythm within, say, an accompaning sextuplet.
La Mer, iii (for the finale -- go to 8'55'')
http://www.youtube.com/watch?v=ZoRSTRwGUSY&feature=related
The above are some very fine models; Chopin, of course, has several dozens of fine examples, an etude or two here and there, let alone the more wild gestures of 42 spanning a bar of 4/4, contouring to the max, admirable almost as sculpture as well as music:-)
Best regards.
P.s. Spell check suggests 'Playrooms' for Polyrhythms !!!.
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Description : Q. what are the cords that are played with the left hand? can you give me the cords in this form 1st:c#df (made up chord) I mean right hand...