what is the importance of intervals in music?
91089
An interval is the difference between one note and another, for example, in conventional western music, the note C is 5 whole tones below G, so the interval from C to G is referred to as a fifth. From C to the next C above it is a complete octave, or 8 tones (although at that point it becomes more complicated because some of the intervals are actually semi-tones).
874118
Not sure about the --- being beats, myself. I agree with 'andytheba..' and 'itschris', above. The line represents the STRING (top line = highest note-thinnest string, bottom line = lowest note-thickest string) \n\nThe numbers DO refer to the fret number (0 = open or un-fretted string/ 1= 1st fret on that particular string 2= 2nd fret and so on and so forth) Where a number repeats ---2-3-5-5-5-5-5--- , this indicates the number of time you pluck or pick the string\n\nTabs are designed primarily to help guide you through a A PIECE OF RECORDED MUSIC YOU EITHER KNOW OR HAVE ACCESS TO. Tabs sometimes, though rarely, contain some musical information. This is similar  to standard musical notation. A large number of tabs, however, just provide you with the basic information and you use the recording to to reference it.\n\nAn example :  ----0-2-3-5--- played on the A string (second fattest) is telling you to play the notes A, B, C and D. If the numbers read ----0-2-4-5--- they would be telling you to play the notes A, B, C# and D.   Since you already read standard music notation - the piano music - you have a glorious head start but, as I said, alot of Tablature (tabs) dispenses with all the note value notation and provides you with just the 'finger pathway' through the music you listen to or want to learn. Good luck
767813
I have always heard that it is a distraction and that you should not. If you choose to then you should choose classical.\nHOWEVER... I prefer to study with music on. So while studies may say that it is better not to, I think that it really does depend on individuals. For me it was never a distraction. I did not get as distracted. I usually ended up tuning out the songs, but for some reason it seemed to help me get started.
922643
It depends on the graph. If the values of each notch differ by x, then the interval is x.\n\nJust look at two numbers on adjacent notches, and subtract.
487046
Listen to the masters.  Listen, listen, listen.  It drills a lot of good technique into your head.  Practice your scales in all different orders, play them along to music to get a feel for the best notes.  Then, just improvise as much as you can.  It's amazing how much improvising in a group can help with your quality.  Oh yeah, that's another thing, no matter what you're playing, keep your sound quality up.  Good breathing and a strong sound will stand out no matter what notes you're playing.
1007241
i have been playing for almost 20 years.  i think there is something very profound about playing an instrument, especially the piano.  i think classical is very underrated (something that should be observed live).  there is a passion that comes with the piano and playing several notes as once.  \n\ni think it also brings your experience as a person.  shows yourself how to have control and discipline and that hard work actually works.  the result is amazing knowing that you work on this piece and you made that sound come from your finger tips.  each note perfects by the way you touch, and how loud or soft it resonates from the piano itself... helps everywhere (even the bedroom) to have such an art!  did i get a little carried away there?
978394
Distinguishing between melodic and harmonic minor scales was something not done before 19th century music theorists.  Before that, the mode was simply "minor" and the 6th and 7th degrees were considered flexible and were adjusted to create smooth melodies and harmonies.  Generally speaking, "melodic" minor was used in 17th century counterpoint melodies to avoid the augmented second that occurs between the 6th and 7th degrees of the harmonic minor, while still ensuring the presence of a leading tone.  Harmonic minor was more widely used in four-part choral writing, such as in the chorales produced by the early Lutheran church in the 18th century.
673981
equal temperment was definitely a great stride . . . but looked at from a physics standpoint, everything we hear as "normal" is from a physics standpoint, wrong.\n\nI expect as computers become more and more involved in the making of new music, the avant-garde musical movement of the last century will expand to cover different tonalities, including systems not used in any indiginous music.  However, this will still sound "wrong" to most people used to the Western tuning system, so it probably won't catch on :-)\n\nMuch about modern popular music can be commended.  Jazz pushed our understanding about cognition and music forward substantially - improvisation can now be done in performance, and people approve of it!  Songs like the Beatles' "Blackbird," which use a complicated harmonic structure in combination with modern lyrics, will stick around for a long time.  I predict anything with a I-IV-V-I chordal structure (and nothing else) will only be around as long as it has cultural value, though.\n\nIf anything, we're in a phase where music is valued for emotional expression instead of for mathematical precision.  Absolute music may make a comeback eventually, but probably not any time soon.
542709
Music is conceptual time expressed in the structures of tones and silence. It is the exploration of time in complex generative forms through rigorous construction of patterns and combinations of natural stimuli like sound. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. Definitions vary in different cultures and social milieus.\n\nThe definition of music as sound with particular characteristics is taken as a given by psychoacoustics, and is a common one in musicology and performance. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans.\n\nGreek philosophers and medieval theorists defined music as tones ordered horizontally (as melodies) and vertically (as harmonies). Music theory, within this realm, is studied with the presupposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the notion that music had to be pleasant by creating music that explored harsher, darker timbres.\n\n20th century composer John Cage disagreed with the notion that music was pleasant melodies. Instead, he argued that any sounds we can hear can be music, saying, for example, "There is no noise, only sound,". According to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "The border between music and noise is always culturally defined--which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus.... By all accounts there is no single and intercultural universal concept defining what music might be."\n\nThe composer Anton Webern expressed in his legendary statement With me, things never turn out as I wish, but only as is ordained for me-as I must stating the underlying generative process of music. The German philosopher Johann Wolfgang Von Goethe stated the nature of patterns and forms as the basis of music by stating that "architecture is frozen music". By this he meant that any natural stimuli that has underlying structural-patterns is musical in form.\n\nOther definitions of music list the aspects or elements that make up music. Molino (1975: 43) argues that, in addition to a lack of consensus, "any element belonging to the total musical fact can be isolated, or taken as a strategic variable of musical production." Nattiez gives as examples Mauricio Kagel's Con Voce [with voice], where a masked trio silently mimes playing instruments. In this example, sound, a common element, is excluded, while physical gesture, a less common element in definitions of music, is given primacy.
676867
Good grief - that's a bit of a broad question isn't it?  In one sense music is merely frequency - vibrations that our ears pick up and our brain converts to the sounds we call music.  In historical terms in 'classical' music it comes in a number of categories - roughly speaking it goes Mediaeval music - sort 1200s-1500s, Rennaisance Music, about 1500s, Baroque music, 1600s, Classical Music, 1700s, Romantic Music, 1800s, 20th Century Music and contemporary music.  OK, very rough dates, there are overlaps.  What do you want to know?  There's all kinds of stuff about musical analysis, notation, composing, conducting, performing etc etc
58845
http://home.tiscali.be/guido.vanspranghe/theory2.html#phrygianmode\n \nThis scale mode has been used in classical music can be used in any type of music you wish. Its all about how you put it together.
51921
well i am going to relate this to music, why are there so many different types of instruments, they all make a different sound, all of the different types of mathematics have different purposes.  Geometry begins to define properties of the world around us, Algebra begins to get us used to workign with variables and the unknown.  Calculus is used to interpret the world around us.  There are many other types too, examples are statistics, they can be anything from sports highlights, what we need to do to fix an intersection to decrease traffic backup.  This is a very brief explaination, but i hope it helps!
1018606
"SUPRASEGMENTALS: STRESS,\n                            RHYTHM, INTONATION\n        8.1 Stess and prominence. The phonemic (contrative) function of\n                stress\n        In the preceding chapter we conducted our analysis beyond the limit of\nphonological units and described syllables as sequences of sounds establishing a\ncollocation relationship between the elements they were made up of. With this we went\nbeyond the limit of mere segments and entered the domain of suprasegmental phonology.\nBy assuming syllables to be hierarchical structures, combinations of sounds in which\nsome elements (the nucleus) were more important than others, we departed from the\nstrictly linear representation of phonological combinations and adopted a non-linear\napproach.\n        The last chapter of this study is concerned with such notions as stress, rhythm and\nintonation. As we are soon going to see – a fact that is obvious even intuitively – such\nphonological realities are relevant at a level of a higher complexity than that of the mere\nsegment and are considered to be typical suprasegmentals. Another term used to refer to\nthem is prosodic elements. Prosody is a word coming from Greek and referring roughly\nto the musicality of phonetic sequences. Etymology is relevant in this case since, as we\nare going to see, we will be able to draw numerous parallels between tonality in human\nspeech and tonality in music. Such prosodic elements are often called metrical elements\nand we can speak of metrical phonology analyzing such suprasegmental phenomena. A\nparallel is drawn here with poetry where the metre is an essential element when we\ndiscuss the prosodic structure of verse. The scope of this book will again not allow us to go into very many details, but some elementary information in this field is essential for\nanyone wishing to have even a very general image of the sound structures of English."\n\n***********\n\nThere's more. See the link below.
1107230
You mean the relation between musicians and maths or literally how mathematical proportions effect the sound that musical instruments produce?\n\nWell to answer the former, theres no connection between musicians and maths. I'm a musician and i hate maths.\n\nTo answer the latter, the different lengths of certain parts of instruments relate directly to the note they produce. For example the strings on a piano, lengths and position of the players' finger on the strings of a stringed instrument and the valves of a brass instrument all contribute mathematically to music. Sorry but it's hard to explain precisely - and i can't really be bothered. Look it up on the net. There's also physics involved of course such as the wavelengths of the sounds produced and the natural harmonics of the instrument, but that can be linked mathematically as well.
80904
Well, why not?  It's just part of the instrument's range.  The open notes for every string are determined by ease of playing scales, making E the logical candidate after B (on the guitar, anyway.)
557607
Music is composed of waves of a certain frequency, amplitude and wavelength.  This wave can be expressed as a sine function.\n\nWhen music is recorded, we try to reproduce those wave patterns on a piece of tape, or in a digital file.  Unlike analog recording, digital recording needs to "digitize" or sample the wave pattern to record the height of the wave.  It must do this very rapidly to get a good "picture" of the waveform.  All this math and science goes into CDs, DVDs, even records, tapes, etc.
371704
Hi :-) ! I suppose you had better ask in the category "Entertainment and Music" if you have not done so already. I only know the terms in French, which are "contrepoint", "harmonie" and "fugue". In English, it might be the twelve tone technique. Maybe have a look on the links below. \n\nHope this helped a bit if it was indeed about music. Or was it for a poem or something else? Good luck!