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Vocal Recording Tips

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Perform special recording vocals is relatively more difficult than music recording instrument. Some of the problems typically encountered in doing vocal recording is Noise, Plosive, Sibilance, and Proximity Effect. However, there are some tips and tricks to maximize the vocal recording. Here are some Vocal Recording Tips: Noise Constant sound participating unwanted sounds recorded as air conditioning, fans, and so on. Solution: 
<ul>
<li>Make a recording in a soundproof.</li>
<li>Or it could be a trick 4 thick carpet hanging around the singer in the shape of a square, so the singer as if trapped in the carpet.</li>
<li>Turn off the sound sources that can interfere with recording prose, such as turn off the fan.</li>
<li>Can also do editing using the plugin 'Noise Reduction' after the taping.</li>
</ul>
 Plosive Explosive sounds were recorded as lead singer mentions the letters P, B, D, or T. For example, when the word 'go', 'when', 'he', 'know' and so on. Solution: 
<ul>
<li>Use Pop Shield between the mic and the singer (usually a round as a filter)</li>
<li>If you do not have a Pop Shield, you can use the following trick: The position of the mouth do not fit on the mic but a little bit to the top. If you use this trick, input gain should be increased so that the recorded levels remain good.</li>
</ul>
 Sibilance The letter 'S' which sounds a bit excessive. This case only exists on some singers vocals. Consider carefully whether for the word contained the letter 'S' sounds sharp or not. Solution: 
<ul>
<li>Once recorded, use the plugin 'De-Esser' during the editing process to reduce the sharpness of the sound 'S'.</li>
</ul>
 Proximity Effect The sound becomes too mouth bass at positions close to the mic. The closer the position of the mouth to the mic, the greater the bass frequencies to be heard. Solution: 
<ul>
<li>Find a position where the content is not excessive bass frequencies but also no less by adjusting the mouth with the mic.</li>
</ul>
 Use quality soundcard and mic types as needed. Soundcard is selected should not type soundcard for gaming or home theater, but use professional recording soundcard. To connect using firewire external type result is better than using a USB connection for now, with the exception of future data transfer speed USB connection already offers better like USB3. We recommend using a quality microphone and cables to minimize noise generated.

Perform special recording vocals is relatively more difficult than music recording instrument. Some of the problems typically encountered...

Saxophone Basic Technique

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Seventy-five years since the discovery of Saxophone, saxophone finally began to be used in dance music. Saxophone are designed to have a soft tone, smooth, and balanced. That's why the saxophone to complement the sound of trumpets, drums, and bustle of people talking around the dance bands of the early 20th century. Saxophone mouthpieces made smaller and more parallel, it makes the sound louder saxophone and is perfect for jazz and dance music. Since the process of metamorphosis is the saxophone became one of the main tools in jazz. Based on the history of development of <a href="http://mmusic-zone.blogspot.com/2012/10/the-saxophone-treat.html" target="_blank">the saxophone</a> at the top, then in studying the saxophone can not ignore the history of jazz and dance music. Saxophone is one instrument that is still fairly young, as compared to other types of wind instruments like <a href="http://mmusic-zone.blogspot.com/2012/11/the-flute-musical-instrument.html" target="_blank">the flute</a>, <a href="http://mmusic-zone.blogspot.com/2012/11/the-oboe.html" target="_blank">oboe</a>, <a href="http://mmusic-zone.blogspot.com/2012/11/the-clarinet-musical-instrument.html" target="_blank">clarinet</a>, <a href="http://mmusic-zone.blogspot.com/2012/11/the-bassoon-wind-instruments.html" target="_blank">bassoon</a>, and others.  
 
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Saxophone Basic Technique</div>
 
Embouchure 
 In saxophone playing techniques, embouchure formation illustrates the lips, teeth, jaw, and the muscles around the mouth when air is blown through the mouthpiece. Embouchure resulted in an effort to produce a good tone and the ability to control the saxophone well. In practice, there are some embouchure formation is often used by many saxophonist, but I will only outline one embouchure formation which is currently the most widely used and can produce quality sound and good tone. Too many bottom lip that sticks to the teeth and lower lip too much folded into the mouthpiece. In these difficult formations such as voice and tone brighter (bright), freer, and more flexible. 
 
While embouchure formation at the bottom of the image to produce sounds and tones that are brighter, because the reed vibrations produced can be more free. From this picture, reed remains untouched by the lower lip, but only a small portion of the lower lip that sits between the mouthpiece and teeth. Imagine the letter "V" to find a comfortable position of the lips in order to produce a good tone. Tongue (à tonguing technique tongue) Techniques tongue (tongue; tonguing) is one of the basic techniques in playing the saxophone. The tongue is used to provide accent attack or when it starts to remove the air through the mouthpiece. There are a wide variety of tonguing, but generally use tonguing technique is by touching the tongue to the end of the reed, while saying "dah" when the tip of the tongue touches the tip of the reed. Breathing Playing the saxophone technique is a woodwind instrument such as exercise, we must often practice so that the ability to play the better wind instrument line with the good condition of our body. Breathing exercises should be a part of our routine practice in order to increase the ability to control the instrument anyway. All saxophonist must learn to take a breath from the lower abdomen, because of this section a saxophonist will acquire the capacity of air to breathe, strength, and endurance to control the saxophone. To practice breathing using the diaphragm, first we have to learn to breathe using the bottom of the stomach to get enough air capacity, vigorous and has the durability to control the blower.

Seventy-five years since the discovery of Saxophone , saxophone finally began to be used in dance music. Saxophone are designed to have a ...

Tempo in Music

Understanding tempo in music is fast or slow song when sung in a music composition. A composer, usually determines the desired <a href="http://mmusic-zone.blogspot.com/2012/11/song-speeds-tempo.html">tempo song</a> that was written on the left over the composition of his songs. The term due is usually in the form of words in Italian language or languages other currencies. The term can also be placed tempo in the middle of the song, ie when the composer really want change tempo in the middle of his song was to write the word "change tempo" in the notation or staves that changed tempo. 
 
Measuring Tempo 
 
Tempo will typically be written at the beginning of a piece of music, and in modern Western music is usually indicated in beats per minute (bpm). This means that the number of beats (pulse) per minute played. The greater the tempo, the larger the number of beats that must be played in one minute. Such mathematical sign of maturity is becoming increasingly popular in the first half of the 19th century, after the metronome had been invented by Johann Nepomuk Mälzel, although early metronomes somewhat inconsistent. Beethoven was the first composer to use the metronome, and in 1817 he gave a metronomic indications for "eight Symphonies" her. 
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At the metronome are also bell sets that we can match beats sound bars, 2/4, 3/4, 4/4, 6/8, and so on. Bell will sound on every first beat in every segment bars. Thus the buzzer coincided with the first beat of the track bars. The technical writing position metronome mark is placed near term due form letter acronym, a word of Metronome MM Malzel. The name is taken from the name of the copyright owner is the inventor, Johann Nepomuk Malzel (1770-1838). 
 
 
Example metronome mark: MM. = 130 This means that there are 130 beats in the minute. So the greater the number, the faster the tempo MM song. With the advent of modern electronics, bpm be a very appropriate size. Music sequencer using the system to indicate the tempo bpm. 
 
Signs Tempo Basic 
 
All signs are based on a few root words. 
- By adding Issimo words mean very. 
- By adding the-ino words mean more. 
- By adding a Etto means little. 
 
Metronome marks are a guide only and depending on the sign, these figures may not be appropriate in any condition to play music. 
 
Larghissimo - very, very slow (20 bpm and below) 
Grave - slow and solemn (20-40 bpm) 
Lento - slow (40-60 bpm) 
Largo - width (40-60 bpm) 
Larghetto - rather wide (60-66 bpm) 
Adagio - slow and stately (casual) (66-76 bpm) 
Adagietto - rather slow (70-80 bpm) 
Andante - Moderato bit slower than Andante 
Andante - walking pace (76-108 bpm) 
Andantino - slightly faster than Andante 
Moderato - moderate (108-120 bpm) 
Allegretto - pretty fast (but less so than allegro) 
Allegro Moderato - quite fast (112-124 bpm) 
Allegro fast - quick and decisive (120-140 bpm) 
Vivace - agile and fast (≈ 140 bpm) (quicker than allegro) 
Vivacissimo - very fast and lively 
Allegrissimo - very fast 
Presto - very fast (168-200 bpm) 
Prestissimo - very fast (more than 200 bpm) 
 
Codicil: 
 
<ul>
<li>A Piacere - players can use discretion relating to tempo and rhythm; literally "at will"</li>
<li>L'istesso tempo - at the same speed</li>
<li>Tempo comodo - on speed (normal) comfortable</li>
<li>Tempo di ... - the speed of ... (Such as Tempo di Valse (waltz pace), Tempo di marcia (speed mars)</li>
<li>Tempo Giusto - at a consistent speed, the speed of the 'right', in strict tempo</li>
<li>Tempo semplice - simple, regular pace, clearly</li>
</ul>
 
 
General qualifications: 
 
<ul>
<li>alla - manner or style of, as in</li>
<li>alla breve - tempo 2/2. In Dutch: gehalverde congregation</li>
<li>alla marcia - in a march (eg, Beethoven, op 101.)</li>
<li>all ongarese - 'in Hungarian style</li>
<li>alla (danza) tedesca - the German dance and dance styles are similar in tempo rather quickly (see Beethoven, op 79, op 130 ..)</li>
<li>Alla turca - in the Turkish style, which, in imitation of Turkish military music (music Janizary), which became popular in Europe in the late 18th century (eg, Mozart, K. 331, K. 384)</li>
<li>alla zingarese - in the style of Gypsy music</li>
<li>assai - very much, as in allegro assai, quite fast</li>
<li>ben - well, as in ben MARCATO (well marked or accented)</li>
<li>con bravura - with skills</li>
<li>con brio - with zeal and enthusiasm</li>
<li>con fuoco - with fire</li>
<li>con moto - with movement</li>
<li>deciso - clear, unequivocal</li>
<li>fugato - in fugal style, usually part of the non-fugal composition; such passages often occur in the development of symphonies, sonatas, and quartets</li>
<li>in modo - in manner, in style: in modo Napolitano (in the Neapolitan style), in modo in marcia funebre (in a funeral march)</li>
<li>meno - less, such as Mosso meno (less fast)</li>
<li>appena - almost nothing, like appena forte (loud hardly at all)</li>
<li>misterioso - mysterious</li>
<li>molto - much, very, as molto allegro (very quick) or molto adagio (very slow)</li>
<li>non troppo - is not too much, such as allegro non troppo (or allegro ma non troppo) means "fast, but not too much"</li>
<li>non tanto - is not so much</li>
<li>piu - more, such as di piu allegro (faster), used as a relative indication of when it changes tempo</li>
<li>piuttosto - more, like piuttosto allegro (rather quickly)</li>
<li>poco - a little, a little, like poco adagio</li>
<li>poco a poco - piecemeal</li>
<li>Polacca - name Polish dance, polonaise usually, as in tempo in Polacca, (the "Polacca" in Bach's Brandenburg Concerto No. 1 shows little resemblance to the polonaise)</li>
<li>primo - principal or earlier, such as primo tempo, tempo the same as at the beginning (back to the tempo early, because of a change in tempo)</li>
<li>quasi - almost, almost, as if (like piu allegro quasi presto, "faster, as if presto")</li>
<li>senza - without, like interruzione senza (without interruption or delay), or misura senza senza tempo (without measuring tight)</li>
<li>sostenuto - sustainable, long</li>
<li>Subito - abrupt</li>
</ul>
 
In addition to Allegretto, composers freely apply small and superlative Italian suffix to various tempo indications: andantino, larghetto, adagietto, and larghissimo. 
 
Connotation Tempo Based Mood 
 
Some signs are especially marked mood (or character) also has the connotation due: 
<ul>
<li>Affettuoso - with feelings / emotions</li>
<li>Agitato - agitated, with implied velocity</li>
<li>Appassionato - to play the passionate</li>
<li>Animato - spirit, life</li>
<li>Brillante - sparkling, glittering, as in Allegro Brillante, Rondo Brillante, or Variations Brillantes; became fashionable - in titles for virtuoso section</li>
<li>Bravura - wide</li>
<li>Cantabile - in singing style (lyrical and flowing)</li>
<li>Dolce - Sweet</li>
<li>Energico - energetic, strong, powerful</li>
<li>Eroico - heroic</li>
<li>Espressivo - expressive</li>
<li>Furioso - to play the angry or upset</li>
<li>Giocoso - carefree, funny</li>
<li>Gioioso - joy</li>
<li>Grandioso - majestic, graceful</li>
<li>Grazioso - gracefully</li>
<li>Lacrimoso - crying, sad</li>
<li>Lamentoso - wailing, sad</li>
<li>Leggero - to play lightly, or with light touch</li>
<li>Maestoso - majestic or stately (which generally indicates a serious, slow march-like movement)</li>
<li>Malinconico - melancholy</li>
<li>Marcato - marching tempo, marked with emphasis</li>
<li>Marziale - in march style, usually in simple, strongly marked rhythm and regular phrases</li>
<li>Mesto - sad, melancholy</li>
<li>Morendo - dying</li>
<li>Nobilmente - respectable (in a noble way)</li>
<li>Patetico - with great emotion</li>
<li>Pesante - very</li>
<li>Sautillé / Saltando - restlessness, rapid, and short</li>
<li>Playful - scherzando</li>
<li>Sustainable - sostenuto, sometimes with reduced tempo</li>
<li>Spiccato - sautillé slow, with a bouncy manner</li>
<li>Tenerezza - softness</li>
<li>Tranquillamente - adverb from Tranquillo, "calm"</li>
<li>Trionfante - triumphantly</li>
<li>Vivace - lively and fast, over 140 bpm (which generally indicates a fast movement)</li>
</ul>
 
Change in Tempo 
 
<ul>
<li>Accelerando - tempo up (abbreviation: accel.)</li>
<li>Allargando - tempo down, usually near the end of the song</li>
<li>Calando - will slow (and usually also softer)</li>
<li>Doppio Movimento - double speed</li>
<li>Meno Mosso - less movement or more slowly</li>
<li>Mosso - movement, more life, or faster, such as piu Mosso, but not extreme</li>
<li>Piu Mosso - movement more or faster</li>
<li>Precipitando - rushing, run faster / forward</li>
<li>Rallentando - gradual slowing down (abbreviation: rall.)</li>
<li>Ritardando - less gradual slowing down (more sudden drop in tempo than Rallentando) (abbreviation: rit or more specifically, ritard ..)</li>
<li>Ritenuto - slightly slower, while holding. (Ritenuto stands can also be written: rit.) More specific so stands riten Also sometimes ritenuto not reflect changes in tempo, but not change the character)</li>
<li>Rubato t- empo-free adjustments for expressive purposes</li>
<li>Stretto - in a faster tempo, often close to the conclusion of a section. (The term is not necessarily related to the tempo.)</li>
<li>Stringendo - pressing faster (literally "tightening")</li>
</ul>
 
Note: 
 
<ol>
<li>Within the base (such as allegro) appears in large writing on the staves, these adjustments typically appear below the stave or (in the case of keyboard instruments) in the middle of a large staves.)</li>
<li>Changes in the general tempo appoint a gradual change in tempo, because the tempo shifts immediately, composers usually only provide the name for the new tempo. (However, when Piu Mosso that Meno Mosso or appearing in large letters above the stave, it serves as a new tempo, and thus implies a change soon.) Some terms, for example, assai, molto, poco, subito, control how large and how changes should be gradual (see general qualifications).</li>
<li>After a change of tempo, tempo composer may return to previously in two different ways:</li>
<li>A return to the tempo tempo early after adjustment (eg "ritardando ... a tempo" (cancel effect ritardando).</li>
<li>Primo Tempo tempo or I - indicates an immediate return to the previous tempo after the part in a different tempo (eg "Allegro Moderato Lento .......... ... Tempo I", indicating a return to Allegro). This indication often functions as a structural marker in pieces in binary form.</li>
<li>This requirement also indicates, instantly not gradually, change tempo. Although the Italian language, composers typically use the term above, even though they have written their initial tempo marking in some other language.</li>
</ol>
 
Tempo marks in other languages 
 
Although the Italian language has been commonly used in terms of tempo mark in the history of classical music, many composers wrote tempo indications in their own language. Definition tempo marks mentioned in this section can be found in the Harvard Dictionary of Music and / or the online foreign language dictionaries. 
 
Signs Tempo French 
 
Several composers have written tempo marks in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as Claude Debussy, Olivier Messiaen, Maurice Ravel and Alexander Scriabin. 
<ul>
<li>Au Mouvement  - played a tempo (first or primary).</li>
<li>Grave - slowly and earnestly</li>
<li>Lent - slowly</li>
<li>Modéré - in medium tempo</li>
<li>Moins - less, as Moins vite (not fast enough)</li>
<li>Rapide - fast</li>
<li>Très - so, as in the Très vif (very much alive)</li>
<li>Vif - life</li>
<li>Vite - fast</li>
</ul>
 
Erik Satie is known to write extense tempo (and character) mark by defining them in a poetical and literal, as in his Gnossiennes. 
 
Signs Tempo German 
 
<ul>
<li>Langsam - slowly</li>
<li>Lebhaft - life (mood)</li>
<li>Mäßig - enough</li>
<li>Rasch - fast</li>
<li>Schnell - fast</li>
<li>Bewegt - animated, with motion</li>
</ul>
 
One of the first German composers to use tempo marks in his mother tongue is Ludwig van Beethoven. One is using a combination of the most complicated tempo and mood signs may Gustav Mahler. For example, the second movement of his Symphony No. 9 marked Im Tempo eines Ländlers gemächlichen, etwas täppisch und sehr derb, showing folk-dance movement as slowish, with some awkwardness and vulgarity many executions. Mahler would also sometimes combine German tempo marks the traditional Italian mark, as in the first movement of the sixth symphony, marked Allegro energico, ma non Troppo. Heftig, aber markig (energetically fast, but not too much violence. Yet powerful).

Understanding tempo in music is fast or slow song when sung in a music composition. A composer, usually determines the desired tempo song ...

Playing the Recorder or Flute

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Playing the Recorder or <a href="http://mmusic-zone.blogspot.com/2012/11/the-flute-musical-instrument.html">flute</a> commonly used for teaching in all schools, the recorder is often used is the recorder soprano soprano recorders, in addition there is also a sopranino recorder and alto recorders. Soprano Recorder have sound from the area c ' (all the holes closed all) s/d ' b ', but for the high tone is almost certainly sound dissonant at all. Recorders including melodic instrument rather than a rhythmic (accompanist). The practice of music will be divided into two, namely: individual and group practices. 
 
 
Fingering On Recorder 
 
0 1 2 3 4 5 6 7 
 
Right hand left hand: 
 
1. the left hand holding the top of the flute, right hand bottom 
2. Head and shoulders erect natural (not tense) 
3. bloated Chest and both elbows raised so as not to touch the body. 
4. the source of the blast was placed above the bottom lip, upper lip touched the source graceful puffs. 
5. do not put the source of the blast was too deep that touches the teeth, and do not be bitten. 
 
Breathing Techniques and Puffs 
 
A good breathing just as we sing that is using the respiratory diaphragm, and to produce a nice blast of such utter the word TU, puffs must be flat don't blow too strong so deafening. Usually the tone (c ') is the most difficult is emitted. 
 
Tuning on the Recorder 
 
Recorder can be in the barrel, adjustable audible tone if somewhat fals, but usually not until the rise and fall of a tone half tone. To be in tune Recorder, can pull the head or tail of the recorder with sound likened to stem fluit, fork or keyboard.

Playing the Recorder or flute commonly used for teaching in all schools, the recorder is often used is the recorder soprano soprano reco...

Tips for Playing Electric Guitar

Before playing the electric guitar needs to know the guitar work. Electric guitar is a guitar that sound source obtained synthetically pick up the vibration of the strings transform into an electrical signal, and then amplified and converted into sound through an amplifier or sound reinforcement. In the play the electric guitar has always been to get the sound effects sound character that are not available in guitar amplifiers, such as chorus, distortion, overdrive, flanger, delay, tremolo and reverb. 
 
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<ul>
<li>In this way the input knob guitar effects guitar connected and the output of the amplifier is connected guitar effects.</li>
<li>Volume to adjust the small voice hard.</li>
<li>Bass serves to increase or decrease the low frequency response. Treble serves to augment the sound becomes higher or make a sharp effect.</li>
<li>Midle serves effect change treble and bass.</li>
<li>Drive / distortion sounds to get acquired by rotating the gain level.</li>
<li>Reverb to get the sound effects such as echo room, hall and others.</li>
<li>Effect send and return, if we want to use extertnal effet. to get it, we send knob connect to the input of the effect used. And in return we connect to the output effect is used. Excess use of this facility is to optimize the abilities of guitar effects and the ability of the guitar amplifier.</li>
</ul>
 
Electric Guitar Picking Exercises with Plectrum Plectrum is an invaluable tool hand to strum guitar strings electrical, generally plectrum played right-handed. This method is more familiarly used in electric guitar. There are three types of plectrum electric guitars are: 
 
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Heavy:  
This type is excellent for pick technique harmony, has a thickness ranging from 2:00 to 3:00 mm. 
 Medium:  
This type is suitable for single-game tones or melodies, this pick has a thickness of approximately 1.0 mm. 
 Thin:  
type of pick is perfect for doing resquendo or beaters, having a thickness of less than 0.9 mm.

Before playing the electric guitar needs to know the guitar work. Electric guitar is a guitar that sound source obtained synthetically pic...

Guitar Arpeggio Technique

Arpeggio is a way of playing a chord with not all at once but one by one. Not all guitarists can play a clean technique. The best way to learn is to first sweep picking technique is mastered separately after that coordinate. Basically, you have to let the "fall" to choose from string to string as if you strum a chord. Play the following exercises with attention not stalk, stalk down not always played with the thumb (p), with the formation of (p)-(i)-(m), then try anyway formation (p)-(m)-(a). Play the following exercises with the passage tirando: 
 
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Do not try to separate the pick stroke! Guitar Arpeggio Techniques seem odd at first, but imagine a Slinky that right hand down from step to step-just let it fall. When doing a sweep of the upstroke, pull up a pick over the strings. Tips to train this arpeggio tones should we pay attention to accuracy, picking techniques, finger position and tempo. we can not just rely on the strength of our left hand finger, between the left hand and the right hand should be balanced. If we only rely on the fingers of our left alone without the support of accurate picking, then the result will not tone that does not sound clear.

Arpeggio is a way of playing a chord with not all at once but one by one. Not all guitarists can play a clean technique. The best way to le...

Acoustic Guitar Playing Techniques

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In playing acoustic guitar we must consider the attitude or ordinance that play songs that we bring to work well. Therefore, try to play the guitar in the best possible position of the left hand and right hand to be able to move as freely as possible, and use a foot stool that should be in front of the chair where to put your left foot. 
 
Left hand finger exercises: This exercise aims to strengthen the muscles of the left hand fingers, place your fingers one by the left hand on the strings behind the fret V 6, 2 finger behind fret VI, VII fret finger behind third and fourth finger behind the fret 8, as in the following figure. 
 
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Then move the finger 1 to 5 strings on the same fret positions, without changing the position of the fingers 2, 3 and 4. Also move the fingers 2, 3 and 4 to 5 strings on the same fret positions. Repeat the exercise until the string 1. After reaching the strings first, train it upwards motion, but practice starts from the fingers to the 4 then followed by the fingers 3, 2 and 1. In doing this exercise, do not press your thumb is too strong, try to come to move up and down according to the movement of the fingers. The location of the thumb behind the neck of the guitar position to deal with finger 2. 
 Exercise your right hand fingers: Fingers strum the guitar strings with the right hand: Excerpts apoyando (rest stroke) which pluck the strings with the fingers resting on the next string after the fingers pluck the strings in question. This method is also commonly known as lean passage. This quote is an excerpt of the most basic and most useful in the game, especially for the guitar solo tones. After passage, the finger rests on the strings near the direction of passage. 
 
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Apoyando passage Exercises with 1 open strings, strings picking 1 with a finger (i) after completion of the finger i have to rely on second string open. then do the same thing for finger m, while playing a tone with finger m, with the same time raise a finger (i) so regardless darin strings. When viewed from the side turn gives the impression of two fingers like a pair of legs that are running. Repeat the exercise with the passage of the same, but with different strings are strings 2, 3, 4 and 5 with a variation of the finger (i) (m) (i) (a) and (m) (a) are alternated. Excerpts tirando (free stroke) which pluck the strings with other strings leaning after the fingers plucking strings. 
 
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This method is often referred to as picking dodge, because the fingers herein should not be lean. Fingers pluck the strings without hitting the other strings. This passage is an excerpt kind used to play Chord or arpeggio.

In playing acoustic guitar we must consider the attitude or ordinance that play songs that we bring to work well. Therefore, try to play ...

Chromatic Tones

Chromatic tones are the tones that are between 2 tones within 1 (tone). For example, between C and D there is a tone of Cis / December The distance between the barrel is a half tone / semi-tone. 
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The tones of the <a href="http://mmusic-zone.blogspot.com/2012/11/major-scale-part-1.html">C major scales</a> called chromatic tone, tone row in each of the bass guitar is one fret. Tone when the ride plus the # (sharp) name is eg C tune up plus half called Cis. 
 
If the down half plus mark (mole) name plus the suffix tone ice as B Becomes Bes for only vowel plus the suffix s such a being As. If you play on the fret with the open strings in order, then the resulting tones are chromatic notes as follows: 
 
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How to train starts chromatic tones of the open E string, first finger on F, 2 Fis finger, third finger 4 finger G Gis and so on.

Chromatic tones are the tones that are between 2 tones within 1 (tone). For example, between C and D there is a tone of Cis / December The ...