Q. Mine was Sonata Facile. God, the piece's so brittle and transparent! I have played a lot of other pieces that are supposed to be A LOT harder, though I still think that sonata is so hard to get smooth and clear.
And the most difficult scale (along with its arpeggios, chords, etc).
Mine's C major.LOL. It's RIDICULOUSLY hard. So annoying. And yes, I have played every single key and its chords and arpeggios, etc.
I have NO IDEA why I am asking this stupid question! LOL!
Music, that's so funny! LOL!
That concerto's crazy!
Lisa, your story made me laugh so hard! I just know what you mean. Because I am playing Prokofiev's March and I've got the entire thing down, but this stupid measure and I practiced it for a friggin hour and it's not perfect yet. It actually sounds horrendous. LOL!
And it's impossible to practice Sonata Facile after eight years of playing. It just makes you feel stupid. And it makes you feel pathetic because you can't concentrate; it's sort of too easy.
A. Musically the most challenging thing was Chopin's b minor sonata. To hold that piece together is so difficult. So many themes, the key modulations, pacing of the phrases, dynamic nuances. A challenge musically.
Technically - Bartok Sonata for Two Piano and Percussion. Never have I worked to hard for months and accomplished nothing. But performing that piece made it all worth it. The accents, rhythms, poly-rhythms, use of double forths, displaced accents, texture, tempo, articulations made this the hardest thing I have ever done. And then to coordinate it with another piano which is doing everything opposite of me and multiple percussion instruments makes this one of the most difficult ensemble pieces ever. Lots of slow practice and counting out loud.
Close Seconds - La ci darem la mano variations by Chopin, Prokofiev 7th Piano Sonata, Tchaikovsky Bb Concerto, Dream of Amphion by Andrew Macdonald, and Ravels Gaspard de la nuit.
xylophone?
Q. some of you probaby saw my bass guitar notes...HELP question. im glad for all the great info, it helped a lot!
anyways, the reason i'm so scared about that was because, see, i played piano for about 3 years about 4 years ago, and i told my band teacher and my bass teacher that i played piano and i think that might be why the bass teacher might have pressured me a little harder. anyways, i told my band teacher i would like to play percussion in the band, and he suggested xylophone. i already got my mallets, and i was wondering if i could somhow prepare for xylophone without the instrument. I know the layout and notes are the same as piano, but as i said before, REALLY rusty on the notes. how can i practice notes without specific assignments with the notes? I know it seems like im pushing the limits with starting new things, but since i went to a private school, i didnt have those oppurtunities, and need to learn everything really quick befor i get into high skool. accepting all answers
A. YO!
well, this isnt going to help your technique as much, but it might help you get the idea of note relationships down better, so when you're playing with the band you'll know how you fit into a chord progression....
ok, so remember the other answer that talked about those twelve notes in the pattern? and then we'd break it down to the notes in the "do re mi fa so la ti do" group? well, lets look at that to understand the relationships we're dealing with.....
now, we said that if we start on C, and we play
C D E F G A B C
that would be a C major scale. lets just take those notes and number them, 1 2 3 4 5 6 7 8. keep in mind that there are notes that live in the middle of some of those numbers, we're just not using them right now. its like if you were measuring the distance from your sidewalk to the sidewalk across the street and there was a big hole in the middle of the road. you cant stand where the hole is, but that spot still takes up distance. dont forget that those spaces are there. so, if i put a hyphen in the spaces that arent used, the pattern would read:
1 - 2 - 3 4 - 5 - 6 - 7 8. if we count the numbers and the hyphens then we have all 12 spaces, and that last number that we hit ( 8 ) was just the same as the first but in a higher octave.
alright, so besides being just a number to tell you the notes in the scale, the numbers actually give you the TITLE of that note in the scale, and often we use roman numerals to name these notes. for example, if we were going to play a I, IV, V (one, four, five) pattern in the key of C, it would be C, F,G. if you practice the Xylophone (i think they usually call it a "bell kit" in a school band situation) you can get used to playing lots of patterns in different keys. and there are words to go along with each interval. if everything is normal you'd have the root (the first note is always the root), a major second, a major third, a perfect fourth, perfect fifth, a major sixth, major seventh, and the octave (or a perfect eighth, almost always just called "the octave" of the root).
ok, so we'll get a little trickier here.... besides the normal intervals of 1-2- 3 4- 5- 6- 7 8 , there are the ones in the middle. those middle notes would be named kinda like our sharps and flats using the same markings ( # or b), but they'd be called different things. when you take any major interval and make it a half step lower, it become a MINOR interval. if you make a Major interval a half step higher, it become AUGMENTED. if you take a perfect interval and make it a half step lower it becomes DIMINISHED, and if you raise a perfect it becomes AUGMENTED, just like a major would. we'll use # for AUGMENTED when we attach it to a number, and we'll use b for MINOR / DIMINISHED.
so, if we changed our major scale to include a minor third, a minor sixth, and a minor 7th, (1 2 b3 4 5 b6 b7 8) you get a minor scale which will sound sad instead of happy! that would be C D Eb F G Ab Bb C. if you start on the note A and play a minor scale, you get A B C D E F G A, so it uses all the same notes from C major! that makes "A" the "relative minor" of the C major scale.
last thing, when you play chords from any scale, you'd use the first note, the third note, and the 5th note to form the chord. the first note names the Root of the chord, and the 3rd note names the type of chord. the only one that changes is a DIMINISHED chord, in which case the diminished 5th names the chord....
so, starting on C you'd use C E and G to make a chord. the E is a major third from C, so you get a C major chord. then if you did the same thing on D, you'd get D, F, A, and F is a minor third away from D, so thats a D minor chord.
the pattern of chords in a major scale is always this:
major, minor, minor, major, major, minor, diminished, major
(just like in the scale, the first and last chord are the same thing!). so that I, IV, V pattern in the key of C would be C major, F major, G major! and a V, II, I pattern would be G major, D minor, C major.
still with me? i hope so.... lol. this was a lot more info to eat up at once, but hopefully it helps, and looking at the layout of the xylophone, hopefully you can see how each note is related to the others, and what groups you can use in which scales and chords.
good luck!!
can you give me the chords or the website where you can find the chords of " please don't say lazy" from K-on?
Q. i want the chords that are written in top of the lyrics
ex:
Avril Lavigne
What The Hell
Goodbye Lullaby
2011 RCA Records
Submitted by: paramore_fans@yahoo.com
Key: A
Tuning: Drop D
Chords used:
F#m - 444xxx
D - 000xxx
A - 777xxx
Chords used: for Standard EADGBe
F#m - 244222
D - xx0232
A - x02220
Intro:
Piano: A--D--F#m---D-
Verse 1:
A D
You say better
F#m
messing with your head
D
(yeah yeah yeah yeah)
A D
All cause I was making
F#m
out with your friend
D
(yeah yeah yeah yeah)
A D
Love hurts whether it's
F#m
right or wrong
D
(yeah yeah yeah yeah)
A D
I can't stop cause
F#m
I'm having too much fun
D
(yeah yeah yeah yeah)
Refrain:
A
You're on your knees
D
begging please
F#m D
"stay with me"
A
but honestly I just
D F#m D
need to be a little crazy
Al : Basslines at Refrain
A D F#m D
G|----------|----14-11-|-----------------|-----------------|
D|----14-11-|-12-------|-----------------|-------------7-7-|
A|-12-------|----------|-9-9-9-9-9-9-9-9-|-5-5-5-5-5-5-----|
D|----------|----------|-----------------|-----------------|
Chorus 1:
A D
All my life i've been good but now
F#m D
I Am thinking what the hell
A D
All i want is to mess around
F#m D
And i don't really care about
A D
If you love me, if you hate me
F#m D
You can save me baby baby
A D
All my life i've been good
F#m D
but now Whoaaaa What the hell
Post Chorus:
A D F#m
What? what?
F#m D
what? What the hell!
Verse 2:
A D
So what if I go out with
F#m
a million dates
D
(yeah yeah yeah yeah)
A D
You never call or listen
F#m
to me anyway
D
(yeah yeah yeah yeah)
A D
I'd rather rage than sit
F#m
around and wait all day
D
(yeah yeah yeah yeah)
A
Don't get me wrong cause
D
I just need some
F#m(hold)
time to play (yeah)
(Repeat Refrain)
(Repeat Chorus 1)
Interldue: A--D--F#m---D-
Bridge:
A D
La la la la la la la
F#m D
whoa whoa
A D
La la la la la la la
F#m D
whoa whoa
A D
You say that I am messing
F#m
with your head boy
D
I like messing in your
A D
bed yeah I am messing
F#m
with your head when
D
I'm messing you in
your bed
Chorus 2:
A D
All my life i've been good but now
F#m D
I Am thinking what the hell
A D
All i want is to mess around
F#m D
And i don't really care about
A D
All my life i've been good but now
F#m D
I Am thinking what the hell
A D
All i want is to mess around
F#m D
And i don't really care about
A D
If you love me, if you hate me
F#m D
You can save me baby baby
A D
All my life i've been good
F#m D
but now Whoaaaa What the hell
Outro:
A D
La la la la la la la
F#m D A(hold)
La la la la la la la
A. You can try 911tabs.com for them.
Powered by Yahoo! Answers