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11-13-2018 12:03 PM
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Originally Posted by Jonah
Conventions for naming the intervals are basically based on the major scale (major and minor intervals etc), and that's why they have the appearance of "coming from" major. Anyway, these associations with major are pretty easy on the brain, especially for beginners.
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Originally Posted by FwLineberry
The difference between a Les Paul and a Strat is significant. There is a big, noticeable difference between them.
However, Ab and G# are the exact same pitches. Which name you use is dependent on context AND having an in depth understanding of the accepted naming conventions to know which name to use.
I see that some people call a chord E7b5 while others call the exact same chord an E7#11. It's the same chord regardless what you call it. Yet people will argue about it.
Anyway, I'll refrain from making smart-ass remarks in the future.
I'm sure the OP headed for the hills long ago. As for me, I'm going to watch some Jimmy Bruno videos to clear my head.
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Originally Posted by matt.guitarteacher
I teach 3rds as part of triads, 4rth as a cadential 6/4 chord and 6th as a 1st invesrion of I chord.
I do not really much speak about scale even really or its harmonization.
Of course it is all done with the instrument.
Association with C major is clear but it is not really good imho.. especially if you begin to transpose it... C major scale degrees are all diatonic (historically 'natural')... but compare it with Fis- dur or B-dur and it turns all the method in total mess... which ragman1 totally demostrated with 'G#'
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However, Ab and G# are the exact same pitches.
I see that some people call a chord E7b5 while others call the exact same chord an E7#11. It's the same chord regardless what you call it. Yet people will argue about it.Last edited by Jonah; 11-13-2018 at 01:03 PM.
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I see Jonah must always be right :-)
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Originally Posted by Jonah
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Originally Posted by Jack E Blue
Enjoy Jimmy, especially on theory and theorists
F*%£"@* *!^%$!!!
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Originally Posted by matt.guitarteacher
(I wouldn't bother with scales now, it's just intervals regardless. But the scale references tell us why it's those intervals...)
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Originally Posted by Jonah
This is the kind of hair splitting that I've been talking about.
Originally Posted by Jonah
See, I'm not completely unreasonable and argumentative.
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Originally Posted by ragman1
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[QUOTE]This is the kind of hair splitting that I've been talking about.[/QUOTE
Hundreds of years of music was built on that hair-splitting.
The key idea in everything I write is hearing first of all.
Enharmonism as it is - however paradoxally it iseem - is derived the fact that the pitches are slightly different.
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Originally Posted by Jack E Blue
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Originally Posted by Jonah
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Once you get into more prevalent altered pitches and nonfunctional "scales" like melodic minor, the way they're used in jazz, this method makes a lot more sense than it probably would in a classical setting.
Of course my method I described makes more sense in fucntional tonality (not necessarily classical only)... but lots of jazz is based on classical functional tonality.
I am not against chord scale approach and I respect many methods and all... but I still do not find harmonizations of modes in paralell chords and learning respective chord scales a good beginners method.
It would be msuch better to pratice it all immidiately with voicings and functional connections... because it will intriduce the language imidiately.
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Originally Posted by ragman1
(of course it is much easier to do it on violine, but good hearing pianist can make it with articulation).
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Originally Posted by jonah
On a piano it's probable that the string's vibration of a particular key would be affected by which strings were vibrating around it. Either that or it's an auditory illusion, like a colour appearing different against different background colours. But if you just hit a certain key completely independently of the influence of any other, naturally it would be the same note. Although it would also change depending on how hard you hit it... etc.
It's not rocket science.
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