Answer:
I don't think any one is correct?
But C seems most likely I guess
Explanation:
Just count it out.
<h3>How to define 6/8</h3>
A time signature of 6-8 means there are 6 eighth notes in each measure. Within that structure, the beats can still be broken down into faster notes, but the printed music will always respect the basic beats, grouping faster notes together into the main beats.
<em>Examples: </em>Like a waltz beat (DOWN weak weak Med/DOWN weak weak)
<h3>How to define 4/4</h3>
A time signature of 4-4 means there are 4 quarter beats in each measure. ... Within that structure, the beats can still be broken down into faster notes, but the printed music will always respect the basic beats, grouping faster notes together into the main beats.
<em>Examples: </em>Like a waltz beat (DOWN weak Med weak)
<h3>How to define 3/4</h3>
The time signature 3/4 tells a musician that a quarter note represents one beat in a measure (the lower number) and that there will be three beats in each measure (the top number).
<em>Examples: </em>Like a waltz beat (DOWN weak weak)
Hope this helped
Acoustic instruments.
Simple chord progressions such as C-F-G or Am-G.
Simple time signatures such as 3/4 or 4/4.
"Sharp" or natural keys such as C, D, E, G or A.
Simple scales such as pentatonic minor (blues), pentatonic major, major, melodic minor and mixolydian.
Answer:
Limited range and use of musical space
Explanation:
At the time, Miles Davis' music differential was in its unusual conception. Instead of using the complex harmonies, the profusion of notes and the frantic rhythms that guided much of the jazz practiced in the 1950s, Davis decided to regain some of the simplicity that this genre lost with the advent of bebop - the nervous and inventive jazz style ; that musicians like Charlie Parker and Dizzy Gillespie developed in the previous decade.
The new path pointed out by Miles, already outlined in his album “Milestones” (1958), was labeled by critics and scholars as modal jazz. By substituting improvisations based on chord progressions for modes (scales), he found a freer and spontaneous way to develop melodies that opened up previously unheard of possibilities for jazz expression.