A lot (but it’s not that important), so that’s the purpose of an article like this. You can read the original article here.
One of the more important aspects of an accompaniment is that it should be able to represent the key of the piece (which depends on what you’re doing). There are several different ways to represent this, some of which are discussed in the article on the orchestral keyboard and others in a later article.
An accompaniment that you play in the key the piece is in is not very realistic. It would only be able to sound right when the music is in that key and has the right key signature. Unfortunately, this is very difficult to achieve in an accompaniment with the “wrong” sound, or “wrong” rhythm. A typical example would be my two-note lead voice: you will find some pieces that have the same key signature (such as some choral pieces), but I find that they often sound unnatural due to the way certain passages are written.
It’s always a good idea in the beginning of a new piece to look out at the key signature and make sure that it is consistent with those parts of the piece that the piece is about. You should try to make it as easy as you can by memorizing the key signature (there are various online tools to help you with this) and also playing the appropriate key parts of the piece.
I’ll use a few of today’s keys as examples to show that you can use this approach to produce an “accompaniment without a keyboard.” You still need to be able to play the music, but the sound of your accompaniment will be very natural in this way.
The music I’m playing in this clip is in A minor.
I find that even with a keyboard, I can still produce an accurate, natural-sounding accompaniment in a major key. The keyboard does not alter the timbre of the music, so you can still create a sound that is close to the original without the keyboard.
Now, that’s an ideal accompaniment, but that’s not necessarily the case for every piece of music. We’re interested in how the instruments are related to each other, especially in the case of orchestral music.
In other parts of the string quartet, C will be playing in F (or G-sharp), for example, rather than G. I find that by playing the strings in A minor instead of A or A, the note
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