Music as a language - Victor Wooten. 33 Ways to Make More Time in Your Life For Music-Making. 1. Disconnect. Power down your computer–or if you absolutely need the thing for some reason related to your practice and studies, sever it from the internet by disabling wireless. 2. Banish Television. According to Nielsen, the average American watches thirty-four hours of television per week. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33.
One more tip: music is a long-term game, so be kind to yourself. Think tortoise, not hare. Thank you for reading. Click to share this post: Determining chord progressions in a song. Will We Ever Run Out of New Music? Hemiola. In music, hemiola (also hemiolia) is the ratio 3:2. The equivalent Latin term is sesquialtera. Etymology[edit] The word hemiola comes from the Greek adjective ἡμιόλιος, hemiolios, meaning "containing one and a half," "half as much again," "in the ratio of one and a half to one (3:2), as in musical sounds. Rhythm[edit] Vertical hemiola: sesquialtera[edit] The Oxford Dictionary of Music shows hemiola as a vertical 3:2 (three beats simultaneous with two beats).[6] One textbook states that, although the word "hemiola" is commonly used for both simultaneous and successive durational values, describing a simultaneous combination of three against two is less accurate than for successive values and the "preferred term for a vertical two against three … is sesquialtera Sub-Saharan African music[edit] A repeating vertical hemiola is known as polyrhythm, or more specifically, cross-rhythm.
In the following example, a Ghanaian gyil plays a hemiola as the basis of an ostinato melody. Ghanaian gyil Play Play. Octave Equivalent Music Lattices. Octave Equivalent Music Lattices 5-Limit Triangular (Hexagonal) Lattices The 5-limit lattice, like 5-limit harmony, is defined around the triads: A step to the right is a fifth. Up-right is a major third, and down-right is a minor third. This lattice is octave-equivalent, and so useful for defining scales that repeat every octave. A bit more of the lattice looks like this: B---------F#--------C#--------G#--------D#--------A# / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / G---------D---------A---------E---------B---------F# \ / \ / \ / \ / \ / \ \ / \ / \ / \ / \ / \ \ / \ / \ / \ / \ / \ \ / \ / \ / \ / \ / \ Bb--------F---------C---------G---------D---------A / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / / \ / \ / \ / \ / \ / Gb--------Db--------Ab--------Eb--------Bb--------F If a scale is defined on this lattice, you can instantly see what major and minor triads it contains.
Here are some more chords on a triangular lattice: