What is the difference in these two bars?

[jallenbass]

Do you know the Time Signature to the above example?

Common Time. 4/4.

 

[slybass3000]

I got rid of all of my bass excerpts and parts a while ago so I looked through my wife's violin music and found an example from Tchaik 1. The first measure hides 2, 3, and 4 while the second shows 3 because the note changes.

That is a good example of a "hidden 3" that makes sense visually

 

[Stick_Player]

Common Time. 4/4.

I'm seeing a lot of the "three up-beat quarter-notes" on Tchaikovsky's Romeo and Juliet Fantasy-Overture full orchestra score. It's in Common Time as well.

 

[INTP]

It'll make more sense in TAB.

My thought's exactly.

 

[Chris K]

Long ago Harry Happel, a friend of mine came, up to me. He is the father of Sven Happel, a top Dutch BG and DB player with whom I was in a band (me playing the alto sax) when he was still studying. Harry (who passed away too young) was a well known Dutch pianist who performed at the famous North Sea Jazz Festival several times. But the guy couldn't read any music at all. Now a famous Japanese builder of electric pianos asked him to play a few demos for a new model, to be played by the buyer who only needed to press the DEMO button.

He made digital recordings (Autumn Leaves, Someday my prince will come, forgot the third tune) and sent them in. The Japanese loved them, edited them, installed them. Only after that, they wanted sheet music for those songs exactly the way Harry played them. Harry - who couldn't read music - came to me to have the stuff transcribed. Of course I had to simplify the stuff, since, with Harry's timing, the written music would have looked way too complicated. Harry sent my stuff to the guys in Japan.

They were very, very disappointed. They had made MIDI files of Harry's play and had the computer write out what he played. Those files, as you may expect, did not match what I wrote.

So what we are really looking at in this thread is the importance of the human factor. I write stuff my taking that factor into account.

It took us some time, but Harry and I succeeded to convince our Japanese clients.
They used my sheets, and Harry's interpretation, or, infact the other way around In our own way, we contributed to the understanding that written music is no law, but just a means of communication. Subject to manipulation, sure, but what really counts is the way the performer plays it. If the composer/arranger wants some specific rendering, he or she should simply be more clear about intentions.

 

[slybass3000]

Long ago Harry Happel, a friend of mine came, up to me. He is the father of Sven Happel, a top Dutch BG and DB player with whom I was in a band (me playing the alto sax) when he was still studying. Harry (who passed away too young) was a well known Dutch pianist who performed at the famous North Sea Jazz Festival several times. But the guy couldn't read any music at all. Now a famous Japanese builder of electric pianos asked him to play a few demos for a new model, to be played by the buyer who only needed to press the DEMO button.

He made digital recordings (Autumn Leaves, Someday my prince will come, forgot the third tune) and sent them in. The Japanese loved them, edited them, installed them. Only after that, they wanted sheet music for those songs exactly the way Harry played them. Harry - who couldn't read music - came to me to have the stuff transcribed. Of course I had to simplify the stuff, since, with Harry's timing, the written music would have looked way too complicated. Harry sent my stuff to the guys in Japan.

They were very, very disappointed. They had made MIDI files of Harry's play and had the computer write out what he played. Those files, as you may expect, did not match what I wrote.

So what we are really looking at in this thread is the importance of the human factor. I write stuff my taking that factor into account.

It took us some time, but Harry and I succeeded to convince our Japanese clients.
They used my sheets, and Harry's interpretation, or, infact the other way around In our own way, we contributed to the understanding that written music is no law, but just a means of communication. Subject to manipulation, sure, but what really counts is the way the performer plays it. If the composer/arranger wants some specific rendering, he or she should simply be more clear about intentions.

Chris,
You bring a very important point about the human factor. And I would add to this the Musical factor for the normal musician who reads these charts. I wrote in post #56 the importance of not being too clinical about written music especially if it has to be performed by musicians because musicians have to read and feel and understand what is written. The music notation is a way to express sounds,energy and emotions in a comprehensive system that implies a ton of informations and most of the time it has to be performed in a sight-reading situation and often letting the musician to understand on the spot the music and allowing him/her to interpret it in his/her own manner for the benefit of the performance. So this the reason that most MIDI files are not well translated in a sheet of music because of the interpretation of the duration of the notes. I have seen on gigs in the early days of notation softwares 32ths and 64ths notes rests in very basic grooves because of that. The simple the better unless the music calls for it.

 

[251]

I'm sorry I started a "Fail" thread. I am just trying to learn and improve my reading.


I really did learn somethings and want to thank the people that helped explain it to me.

That is the intro of the song and the drum does not come in until the second bar. The first bar is never used again. David1234 nailed it.
I think in the first bar it should have been two 1/8's tied. That is were I think I got lost.

I personally don't think you should apologize for posting. This is a good forum to ask your questions & there are plenty of people who will reply with information. You will occasionally get a surly reply. It's the internet, you don't even have to read the reply, no less take it seriously.

 

[champbassist]

There is a very important rule in written music that imply in 4/4...

Just wanted to clarify: is this actually a 'rule' or just a suggested way of writing?

 

[slybass3000]

Just wanted to clarify: is this actually a 'rule' or just a suggested way of writing?

i never saw the "Official book of music notation" if it exists LOL.

So ,I don't know if it is an actual rule but it is used by a vast majority of professional musicians when writing music.

But this is a rule or a way to write rhythms that is taught in schools.

 

[ugly_bassplayer]

I'm sorry I started a "Fail" thread. I am just trying to learn and improve my reading.


I really did learn somethings and want to thank the people that helped explain it to me.

That is the intro of the song and the drum does not come in until the second bar. The first bar is never used again. David1234 nailed it.
I think in the first bar it should have been two 1/8's tied. That is were I think I got lost.

It's not you starting the thread , it's perfectly ok to ask good questions.

It's just the crappy answers to your question that bugs me.

 

[champbassist]

But this is a rule or a way to write rhythms that is taught in schools.

If so, I'd think that's a rule. Even if there isn't any 'Official Book Of Standard Notation', there are certain rules that are followed by (almost) everyone.

 

[Stick_Player]

If so, I'd think that's a rule. Even if there isn't any 'Official Book Of Standard Notation', there are certain rules that are followed by (almost) everyone.

No rules, just "practices" (habitual or customary performances).

No rules or laws, just theories - as in Music Theory.