Don Rath Jr - Composer

Dynamics – Music Theory – Level 2 – Part 21b

Don Rath Jr — Sun, 05 Sep 2010 17:25:39 +0000

...dynamics as used in music, we are presenting other symbols used to cause the performers to alter the intensity and the variation of sound intensity through the use additional music symbols.

Dynamics – Music Theory – Level 2 – Part 21a

Don Rath Jr — Fri, 03 Sep 2010 03:18:31 +0000

...his particular trip allowed me to visit the beach where I was able to sit and watch as the waves gently rolled in and then they finish their journey by rolling back out again into the Gulf of Mexico, in a continuous motion, watching the waves moving in and then back out again...

Series Introduction – Music Theory – Level 2 – Part 20

Don Rath Jr — Fri, 03 Sep 2010 03:11:23 +0000

Music is first an idea, a thought. It must be transferred from that thought stage and into the physical world via either music notation and/or performance. In this way, music becomes real!

Music Theory Section – Level 1 – Series Introduction – Part 10

Don Rath Jr — Sun, 22 Aug 2010 23:07:46 +0000

...study of scales it is necessary to learn or more thoroughly understand the basic concepts, ideas and tools used in music notation, including the symbols, representing collectively, the symbolic language of music.

Music Theory – Level 1 – Series Conclusion – Part 19

Don Rath Jr — Sun, 22 Aug 2010 23:05:32 +0000

When taken as a whole, the collection of articles will provide an excellent foundation for understanding the language of music (the words) as well as the symbolic language of music (the symbols).

Ties and Slurs – Music Theory – Part 18

Don Rath Jr — Sun, 22 Aug 2010 22:59:20 +0000

There are two main tools a composer can use to link together two individual notes within a musical composition. In fact, these tools enable you to link together as many notes as you wish. There are some limitations to consider when...

The Fermata – Music Theory – Part 17

Don Rath Jr — Sun, 22 Aug 2010 15:50:15 +0000

In essence, the fermata steels time. It does not alter the notation of the score, whether by changing the time signature or by adding notes or rests to the measure. In other words no additional notes or rests are placed on the staff...

Brackets and Braces – Music Theory – Level 1 – Part 16

Don Rath Jr — Fri, 20 Aug 2010 02:36:10 +0000

There are basically only two main items to explore in this post. The first of them is the bracket and the second is the brace as used in music notation. Let us begin by looking at the use of the bracket when writing music ...

Repeats – Notes and Rests – Music Theory – Part 15d

Don Rath Jr — Mon, 16 Aug 2010 00:51:33 +0000

...reviewing the symbols used to repeat measures, notes and rests. These tools assist the composer when creating repeatable pieces of music without having to write them out in full. As a reference point, they are sort of like what shorthand is to words.

Repeat Words – Music Theory – Part 15c

Don Rath Jr — Mon, 16 Aug 2010 00:46:41 +0000

It is through the grace and elegance of your compositional skills and your ability to use those tools of music notation, in a unique and exquisite fashion, that you can become an excellent composer creating great and excellent music that will stand the test...

Repeats – Endings – Music Theory – Part 15b

Don Rath Jr — Mon, 16 Aug 2010 00:42:12 +0000

The measure or measures under the first ending bracket are not played the second time through as we did in the previous repeat set-up example using only start ...

Repeats – Music Theory – Part 15a

Don Rath Jr — Mon, 16 Aug 2010 00:39:25 +0000

The performer always plays the music in a linear fashion from start to finish. The use of the repeat symbols changes only the sequence of what is being played not the ...

Barlines – Music Theory – Part 14

Don Rath Jr — Mon, 09 Aug 2010 11:23:47 +0000

Barlines are not the measure themselves rather they are the dividing line between adjacent measures within the composition.

Dotted Notes and Rests – Part 13

Don Rath Jr — Sun, 08 Aug 2010 04:35:25 +0000

Since all note shapes and their equivalent rest shapes are of equal value or duration then they are influenced equally when adding a dot to their shape and hence they remain equal in duration under this...

The Musical Rest – Silence in Music – Part 12

Don Rath Jr — Mon, 02 Aug 2010 03:38:33 +0000

Rests allow us the ability to add depth and additional emotions to music through the use of silence. The musical rests also their use helps to support other tools when creating...

Note Identification – Music Theory – Part 11

Don Rath Jr — Mon, 26 Jul 2010 04:21:50 +0000

Scales in Music – A Tonal System Music Theory Section – Level 1 Note Identification – Music Theory – Part 11 Overview Note identification is one of the basic tools for creating and writing music. It is only one of the concepts within the bigger picture of music theory which encompasses an array of concepts [...]

Analog Versus Digital Sound Quality

Don Rath Jr — Fri, 16 Jul 2010 01:59:07 +0000

...comparing digital recording quality and analog recording quality I pulled out some of my old vinyl records and played several songs which I also have on CD’s. I even used a pair of super expensive headphones to make my own...

Acoustics of Music – Part 1 – Series Introduction

Don Rath Jr — Fri, 09 Jul 2010 22:29:39 +0000

...nine part article series Acoustics of Music takes a different and slightly more advanced approach than my original article titled Characteristics of Sound. It will broaden your understanding of the key and relevant knowledge that is vital and useful...

Audible Range of Human Hearing – Acoustics of Music – Part 2

Don Rath Jr — Fri, 09 Jul 2010 22:03:48 +0000

As we age the overall perceivable range of sound decreases especially in the higher frequencies. Just in case you are wondering, hearing loss begins at around the age of ...

Frequencies – Acoustics of Music – Part 3

Don Rath Jr — Fri, 09 Jul 2010 22:01:54 +0000

...two of the most important and fundamental aspects of music. Since there are certain relationships between frequencies, there are by default certain relationships to the pitches a composer selects...