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contr�rio, o ciclo de quartas, lido para a esquerda. O ciclo de quintas nos diz as
armaduras de clave que tem SUSTENIDOS, enquanto o de quartas, nos diz as armaduras
que tem BEM�IS. Veja bem:
h ar a fundo com sua intelig�ncia e com seu gosto. Est� aprendendo, e sua tarefa �
exercitar
CONSTRUINDO ESCALAS - ARQUITETURA ESCALAS MAIORES E MENORES
Luiz Netto
Lead vocal parts are where dynamic EQ probably sees most use. Sibilance
reduction is one of the options on the menu, but although a dynamic EQ can
be exceptionally good at that function, the real star turn of this processor is
its ability to contain sporadic narrow-bandwidth frequency peaks. The reason
this is so useful with vocals is that a singer creates different timbres and vowel
sounds by physically altering the resonant qualities of the throat, nose, and
mouth. With some singers, you�ll find that certain combinations of note pitch,
delivery force, and vowel sound can briefly create an enormous resonant peak
somewhere in the frequency response (normally somewhere above 1kHz),
and this makes it almost impossible to balance that vocal section satisfactorily.
When the rest of the vocal sound feels in balance, the resonance pokes you in
the ear with a pointy stick whenever it surfaces; if the fader is set to balance
the
resonance, then the rest of the vocal disappears into the mix. Normal dynamics
don�t help, because the resonance doesn�t add substantially to the vocal�s
overall level, and normal EQ doesn�t help either, because any equalization savage
enough to zap the resonance will also administer the last rites to the overall
vocal timbre. Mick Glossop is one of several producer/engineers who have
touched on this problem in interview: �It�s very common for a singer�s voice
to develop a hard edge when he�s singing loudly, which doesn�t happen when
he�s singing quietly�. The problem with using static EQ to get rid of the hardness
is that it might solve the problem of the vocal in the chorus, but when the
quiet verse is being performed, it will lack presence, because you�ve taken out
some 4 to 5kHz.�
quando se percorre a escala alternadamente de notas brancas para pretas adjacentes.
J� sabemos que vamos utilizar a estrutura TTS-T-TTS, por ser uma escala maior.
Come�amos por escrever a escala musica:
Aplicamos sobre estas notas a estrutura TTS-T-TTS e vemos que ficamos com as notas
do,re,mi,fa,sol,la,si,do.Contando quatro semitons abaixo a partir de DO, temos a
relativa menor de do maior que � LA MENOR.
Como sabemos si=do b, come�amos por a� at� completar a escala seguindo de semiton
em semiton. Aplicamos a estrutura de forma��o das escalas maiores TTS-T-TTS sobre a
escala e vemos ent�o com quais notas ficamos:
do b,re b,mi b,fa b,sol b,la b,sib, do b.Como � uma escala MAIOR contamos quatro
semitons abaixo a partir
da tonica e vemos que corresponde � nota la b. A relativa de Do b Maior � a escala
de La b menor.