Q. This question is for long time (10 years or more) musicians.
A. Keep in mind I had no lessons: I started playing the guitar (Jackson PS4) at 14, by 16 I knew "the cool parts" of 16,000 songs it seemed, but no FULL song. It was at that 2nd-3rd year mark I started learning my chords and scales. Nothing is more valuable than a chords poster! As the other poster stated about himself, I was able to play with a band or other musicians, but I still had problems singing and playing (which was a result of another bad habit I had; playing sitting down. I learned all my early stuff through tabs on the internet, so whenever I was playing I was sitting. I play every day, and even if it is just for 5 minutes I usually learn something new. That is what keeps it fun, I have never met a good musician that was "finished" learning.
I do play drums and piano, but they came much later. Drums @ 20 or so, Piano @ 24 or so. I must say my learning curve for those two instruments was a lot shorter, but then again, I already knew basically what what was going on musically (as in the elements of a song), wheras with the guitar in the begining, I did not know my arse from a hole in the ground. I was playing the drums well enough to play in a band within a year, and I seemed to take to the piano easiest of all.
Would I have learned the piano that easy had I not been playing other insruments for years? I seriosly doubt it. The main reason being dexterity. With both the piano and guitar one has to overcome this mind/finger (getting your fingers to do what your mind wants) barrier that breaks only after much practice for people like me who aren't Stevie Ray, or Jimi.
As you can see there are TONS of variables, but just the guitar alone, using only tabs it took me the better part of 3 years to NOT run people out of the room when I plugged in.
Before i asked a question on double flats and sharps, why not just write what your supposed to play ?
Q. With the double sharps and flats, I ask myself WHY?!? Instead of writting G double sharp why not just natural A? Triple and quadruple sharps and flats? People PLEASE!! I know it concerns music theory and all, but can annyone shed a bit of light on this subject? In plainest terms please!
A. The section after this first one is about triple sharps and flats. I figured that I might as well answer the main question in simple terms since I posted in here.
If you don't use double sharps or double flats, then music gets even more confusing than you think. Sure, some of us understand what you are getting at with this question. You want an enharmonically equivalent note that is simpler to read.... but this makes no sense at all if you are looking at chords (string music, piano music, etc.). Your "easy to read" notes make chords look completely dissonant when, in fact, they are pleasant chords.
The Doctor's example is good here. If we were to cater to you and spell the Gb minor chord as Gb, A, and Db, then it would look like like a sus2 chord - a chord with a dissonant second (in purer Classical music this dissonance is arrived at via non-harmonic tones - in this case the appogiatura or retardation would be appropriate). The performer would not immediately recognize such a chord spelling, and would assume that the composer had meant for some strange dissonance; however, the chord is simply a Gb minor triad. Nothing more, and nothing less. If you think about this example, you might understand why double sharps and flats are absolutely necessary when it comes to stacking chords. They are also necessary in voice leading (the creation of individual musical lines and parts).
I decided to show you this example (so I wrote it out in Finale for you):
http://img26.imageshack.us/img26/1655/finout.jpg
edit: The fact that the above example can resolve to some other chord does not make it any less awkward.
Let's also assume that Gb minor is the vi chord and that I doubled the third because it was necessary =). I wrote it in bass and treble clef just in case the poster can only read one or the other.
Others have already elaborated on why you need double sharps or flats for voice leading purposes.
* * * * * * * *
The reason that you don't see triple sharp or triple flat more often is because they are only needed when you have a key signature full of sharps or flats.
It makes theoretical sense. If you have C# major as your key and you build an augmented chord on the Leading Tone (B#+), then the best theoretically correct way to spell it is B#, Dx, and F#x (F triple sharp).
This is the only example I can think of, so that is probably why it is not generally taught or accepted. That is why they are only used in modern repertoire on rare occasions. But - nonetheless - I have SEEN them in real music. Therefore, they surely exist. Triple sharps have been published in music, therefore they exist.
You can deny it and say they don't exist because they only have 1 or 2 uses. That is fine. I don't mind.
Is this an alright composition for a 13 year old?
Q. http://www.box.net/shared/ut0qytv7uv
It's not exactly done yet. It's kind of like a sketch. I just wanted some feedback. I have had no compositional training at all in my entire life. It was done in Finale.
A. The two previous posters are correct. You need to study some music theory and form and analysis in order to create compositions that will make sense. Other than that, it's all up to you, the composer. You need to take into consideration the sounds you hear in your head and then record them on paper.
Try to compose without Finale sometime and see what you get. Use Finale to generate some staff paper that only has a grand staff on it (like a piano). Then just write whatever comes to mind. Hear the music in your head first, then write it down. My old teacher, who was taught by Larry Combs once said "Song before wind." This means you must have the music in your head before you can play it, or write it down in this case. "Song before pen" would work better for this case. You can get some truly artistic results either way, but try it without Finale a few times, and see what happens!
It helps to have a clear idea of what you want, or what you are trying to do with your piece before you try to write anything. I am entering a choral composition contest in January and I'm writing a work for a cappella chorus. I had to consider the text of the work, my own interpretation of the poem, the number of voices I wanted, and the music I had in my head. Composition on any level is about balancing these factors to create the best work of art you can. Your opinion about what is good will change as you grow older and develop as a composer. Experiment. That's the way to learn new tricks. Also, listen to as much music as you can and try to study some theory. You'll need to learn your chord progressions and scales. Play around on a piano and see what you like.
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Title : How long was your musical instrument learning curve? Do you feel you're still improving?
Description : Q. This question is for long time (10 years or more) musicians. A. Keep in mind I had no lessons: I started playing the guitar (Jackson PS...