3/10/2024 0 Comments Bar 5 lines and 4 music staffIt's about how those patterns function within a piece of music, relative to a listener's expectations.ģ2 isn't a random number here. In general, music theory isn't just about the mathematical patterns. Alternately, you can use both, keeping it ambiguous whether you're in a major or minor key, to create a complicated, somewhat bittersweet sound. But listeners are so used to clear resolutions and tonality that not having it can be quite disorienting. There's nothing mechanically stopping you from using both, since they use the same notes, nor is there anything saying you have to emphasize resolutions to either. Similarly, a piece in A minor emphasizes resolutions to A, and a piece in C major emphasizes resolutions to C. ![]() ![]() Your listener will be trying to find the beat and unable to do so (because it's shifting beneath them), and that's very disorienting. Music need not have a predictable time signature at all, although you'll end up with quite a disconcerting/chaotic piece of music if you don't. Rhythms like half-quarter-half-quarter (two bars of 3/4 time) or half-quarter-quarter-half-quarter-quarter (two bars of 4/4 time) emphasize those quarter note gaps.īut a rhythm like quarter-eighth-eighth-eighth-eighth-eighth-eighth doesn't, and is basically in 8/8 time because it emphasizes an eighth-note beat (although you might still write this as 4/4, since it's such a common time signature). You might have a melody that uses them heavily (as in "Hallelujah", my sheet music example from above), a percussion section that punctuates each quarter note, etc. ![]() It's similar to how, say, A minor and C major have the same notes - there's nothing mechanical separating the two, but most pieces are written with one or the other in mind.Ī 3/4 piece, for example, emphasizes a pattern of quarter notes.
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