Debate me, Ben Shapiro’s MUSIC THEORIST father who went to music school. Support this channel: https://www.patreon.com/adamneely Thanks to Phil Ewell and his...
Roman numeral system is so natural for me, that with most pop, jazz, or rock songs, In my head as i'm listening i can go "that's the V, that's vi, that's I" etc. etc.
Did you take music classes? maybe that's why you're more acquainted with the sharps/flats etc.
No, I just have a voice that suits classical solo-work, and picked up chord structures from singing endless interval exercises, so I just naturally think of chords as intervals stacked on top of one another.
I am super crap at Solfege, can't really do it in real time, at least with the rapid florid shit I usually sing. I just pick a reference note and the tonic and hope for the best. Works out ok for everything that isn't too dissonant
There is a lot of benefit of Solfege (Indian music has its own traditional version.) Vocalists mostly learn it to sightsing, and trying to sing without it can have real issues if you're singing dissonant or atonal stuff on first sight.
Even something like some of Rameau's work (Castor and Pollux, the all Accompagnato show, all Accompagnato, all the time. You want an Aria? You get ONE.) will trip you up if you don't realise that chord isn't resolving quickly enough, or that the notes between the chords are deliberately off key.
Yeah. Absolutely. I'd like to note that the current notation system was never designed to be a comprehensive guide to a performance any more than Plainchant Notation, until mid 19th century the finishing work was given largely to the performers. It's mostly Rossini's fault, him getting fed up with shitty soloists doing runs all over his pieces.
If you look at soloist copies and autographs, there are shitloads of additional symbols in 17th-18th century music. There were between 9 and 22 different types of trills (upwards, downwards, same note trill, pressed vibrato, glottal stopped, played on the palate, bounced off the diaphragm.)
Performers notated musical colouring, turns, the type of portamento, the exact shape of mezza di Voce, when to add vibrato, how to attack the note beyond Legato-Staccato, Really complex phrasing. All things that are lost in modern vocal music.
The notation varied from region to region and from teacher to teacher but most people could look at a score and follow that performance notation.
That's funny :)
Roman numeral system is so natural for me, that with most pop, jazz, or rock songs, In my head as i'm listening i can go "that's the V, that's vi, that's I" etc. etc.
Did you take music classes? maybe that's why you're more acquainted with the sharps/flats etc.
No, I just have a voice that suits classical solo-work, and picked up chord structures from singing endless interval exercises, so I just naturally think of chords as intervals stacked on top of one another.
I am super crap at Solfege, can't really do it in real time, at least with the rapid florid shit I usually sing. I just pick a reference note and the tonic and hope for the best. Works out ok for everything that isn't too dissonant
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There is a lot of benefit of Solfege (Indian music has its own traditional version.) Vocalists mostly learn it to sightsing, and trying to sing without it can have real issues if you're singing dissonant or atonal stuff on first sight.
Even something like some of Rameau's work (Castor and Pollux, the all Accompagnato show, all Accompagnato, all the time. You want an Aria? You get ONE.) will trip you up if you don't realise that chord isn't resolving quickly enough, or that the notes between the chords are deliberately off key.
deleted by creator
Yeah. Absolutely. I'd like to note that the current notation system was never designed to be a comprehensive guide to a performance any more than Plainchant Notation, until mid 19th century the finishing work was given largely to the performers. It's mostly Rossini's fault, him getting fed up with shitty soloists doing runs all over his pieces.
If you look at soloist copies and autographs, there are shitloads of additional symbols in 17th-18th century music. There were between 9 and 22 different types of trills (upwards, downwards, same note trill, pressed vibrato, glottal stopped, played on the palate, bounced off the diaphragm.)
Performers notated musical colouring, turns, the type of portamento, the exact shape of mezza di Voce, when to add vibrato, how to attack the note beyond Legato-Staccato, Really complex phrasing. All things that are lost in modern vocal music.
The notation varied from region to region and from teacher to teacher but most people could look at a score and follow that performance notation.