If you’ve ever tried to write a note in your own handwriting, you’ll have a good understanding of how to do that—but how does that work when you’re trying to convey a sound?
Think of trying to write a musical note. There’s no way you can do it by your arm and your fingers. Even if you manage to do it somehow, you’re always doing a series of small mistakes with all sorts of tiny steps that make the message sound really, really weird. With pitch, you can do that with very large amounts of noise. You’ve got your vocal cords and your nose, and you’re really able to manipulate that to do it in a way that sounds natural—which is really hard to do with a hand. But you have pitch with you from the very beginning.
The other thing is this: I am the type of person with pitch problems whose main anxiety comes from the fact that it’s too big a number—when I’m trying to communicate something—without having to worry about words getting stuck. I’m very picky about the pitch of my notes, and it’s just a lot of hard work to manage that, and figure out all the different ways to get to the same pitch. As long as you do it naturally, you’re never going to have any problems.
So with pitch… you should learn pitches in that way.
The second one is [how to] make your notes in a way that’s familiar to you, but you can’t really hear the notes, as you don’t really understand the language of it. The first one that springs to my mind is that a lot of music is written in “progressive” mode—the notes go from one section to another. There are lots of people who write that way, and I know lots of people who read that way. I like to work in that manner, but there’s a great number of people who are able to do it a certain way, I think, and a lot of people who are able to do it well.
You mention the two first ones [below in the article] as examples. Are there others?
Yes, there are. With a number of other instruments, the pitch is the key to really pushing it—I mean, there’s a few notes that you can’t see.
[My first question was about why I wasn’t writing things.] A lot of people think that writing a piece has to be an enormous and obsessive mental process—
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