I feel like this is the trouble with chords. A lot of these are four-note chords which, while I guess have a similar character to C-G-Bb, aren't quite the same, and the addition of the fourth note takes a way a degree of freedom in how much more notes you can incorporate vertically without sounding too dissonant.
As someone who's gotten to sit in with jazz bands on occasion and had to play dance gigs where the whole book is sightread, plus adjudicated school band competitions, there are 3 main things I focus on to sightread:
But they're not, that's just the thing. We took those 3 notes as a root and 2 color tones. C7 doesn't need a G in it to establish its tonality, C-E-Bb works just fine, and under certain circumstances you can even get away with just C-Bb. At no point in any of my chords I listed was I considering anything other than the notes you listed. Now, there are such things as tone clusters, but that's like C-Db-E-Ab-Bb-B-D-Eb, a literal cluster.
I see. I don't have formal musical training so apologies if I get some basic things wrong. Though personally I'm not too sold on the idea of substituting notes and using color tones unless it's explicitly asked for.
Its all good, thats the whole odea of the thread.
9 years of cello, fooled around with guitar and violin. I know only very basic music theory. I've always been super fascinated by the dichotomy between classical and the rest of the music world. I'd be interested in what anyone has to say about it.
Other people have given really good advice. Learning to sight read sheet music is almost a little bit like learning a language. The only way you can learn to sight read is by trying to sight read. Familiarize yourself with the staff and then get easy music and start plowing through it. The frustrating thing about it is that after you've read through something a couple times it becomes useless as a sight reading exercise. Easy etude books are probably a good place to start.
I tried it, my keyboard doubles as a midi controller, but i have to manually set it up and I don't know how. You're right the GUI is very bloated. I'm not a sound engineer, I'm just a musician and I couldn't make heads or tails of it.
I'm glad you can answer the more industry and production side, because I couldn't, thanks a lot
Good to have you aboard, I'd really like to learn more of piano/keyboard myself. I know how to create chords and inversions but when it comes to playing a peice of sheet music my hands just don't know how to work independently from each other. I've been playing bass and guitar for years but I imagine it's a different type of hand independence than those.
Schirmer is what my piano teacher had me do everything on. They have all levels of piano.
Thanks I'll look into it, I'll probably see if there's a pdf version of the book. I'm also not particularly strong in reading the staff, I can but I have to think about it instead of it flowing naturally. I have an uncle who's a great pianist, he could probably get me to the level of not having to think about the notes.
+1 to Hanon etudes, and the Schirmer library has an amazing range of options for almost every instrument.
I like Ableton, the effects rack GUI is really intuitive if you're used to physical gear like guitar pedals, and people make cool stuff with Max.
Musical notation is dogshit for anything but sight reading, frankly. It sucks that it's effectively required knowledge to learn theory just because it's the standard for communicating musical ideas; it's like if philosophy was only taught in French, and you had to learn French in order to study philosophy.
I think musical theory can be taught without reading musicical notation. I can't sight read notation without really having to think about it. But I understand music therory and intervals. Leaning to read music is just another tool to make you a more well rounded musician, just like improv, chord sheet reading, tablature reading. Some people are blessed with perfect pitch, unfortunately I only have relative pitch. But studies have shown that as people get older they lose perfect pitch. When I teach my students, I like to use scale degrees and teach them the Nashville numbering system
I looked at the beginner book and found a pdf for it, I thought it would go over where the notes are on the staff. I think I'll just get my church pianist to teach me. I come from a church that uses old hyms, but she takes the notation as a suggestion and adds more to it. She kinda puts some swing into her playing as well as little fills. She's really good. She's probably been playing for 60 years.
