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"Undergraduate tuition for the 2016–17 academic year will be $40,220. Total tuition, room and board, and mandatory fees next year will increase to $58,809, a 3.1 percent increase over the current year"
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11-22-2017 10:07 AM
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I think it's kind of funny.
Go online and you can find courses on all areas of human knowledge taught by professors at the world's most prestigious universities - Yale, Oxford, Stanford, etc etc - for FREE.
Want to study special relativity or the Greek philosophy? No cost.
Berklee charges for all its courses.
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I reckon John Mayer and the bloke who did Gangnam style are probably the only ones who made those fees back from music lol.
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That's a derivative of a derivative, and redundant. never heard anyone say anything like that. Sounds made up honestly.
Originally Posted by Robertkoa
if you're going to say " from the third of" something , it may as well be the parent scale. There's no purpose in calling anything else.
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Well, that's pretty steep, but not outside the typical range. Originally Posted by christianm77
Not that it makes it any better, but don't forget that that includes room and board. Considering that even a crappy studio apartment in Boston can be upwards of $1500/month, so that's $18K+ right there.
But yeah, pretty ridiculous.
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Berklee College of Music Master's Program Tuition | Berklee Valencia Campus Originally Posted by Boston Joe
For anyone legally eligible to work in Spain, it might be worth keeping an eye open for jobs:
http://valencia.berklee.edu/wp-conte...ption.docx.pdf
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I admit to have made some fun about it, but if it will make you feel better in my real life playing, I relate everything to major scale, just like you proposed, only I do not bother to systematize the nomenclature. Its the matter of Originally Posted by rpjazzguitar
" ... ah - ha, here's the basic major scale for plain triad without extensions, guess I'd better raise and flat some if I want to sound half good and sort of diatonic to the music of the moment, let's hope it's these I have in mind, if I'm wrong, maybe I will be lucky enough to sound as if it was "out" on pourpose ...".
For minor chords, I do the similar starting from natural minor, but more than occasionally I look at minor as as if it was relative major.
Should I name resulting pools of notes by some Greek names, or by some numerical system ... well ... I do not really care.
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Eventually... when one sees G7 in a tune or chart.... You know what's implied. You don't go through a long complicated process.
You know from the melody, the changes, the form etc... You also begin to know extended possible relationships.
It like when you see G7... most would think or hear the 4 chord tones... eventually you think or hear all the possibilities of complete note collections with that root or reference "G". And your aware of the relationships and the level of relationships to that G7.
I mean most can see a G7 and are aware of the possible tritone subs... and maybe even which Db7 is implied by the tune or context.
Which Db7... would be related to more information.
There are different approaches to becoming aware of what those notes collection are.... if you don't know or understand them, it's not just you that becomes limited, it's also the other performers your performing with.
I understand many don't really care or don't get in those situations... but they exist.
I also believe the music education system has become a money making machine etc...
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CST is the opposite of HRT.
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Just take the time to write out the basic scales vertically and horizontally...
from the three minors, you get 21 chords, throw in Harmonic Maj. ,
Diminished and some symmetric scales and you basically have all the chordal information you'll ever need...with very little work and time... you'll begin to see the basics... this isn't just CST...
You should know and be aware of these basic chord and scale relationships before you attempt to even try and play jazz.
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I would just like to add that many musicians aren't aware of just how far mastery of this (comparatively small) body of knowledge will take you. Originally Posted by Reg
C major scale is:
C D E F G A B C
...which has 6 additional modes.
Change every "E" to "Eb" and you have the melodic minor scale and its modes.
Change every "G" to "G#" and you have the harmonic minor scale and its modes.
Change every "A" to "Ab" and you have the harmonic major scale and its modes.
There are 2 other 7-note scales that do not have 2 consecutive halfsteps. But they are essentially just the diminished scale with a missing note.
The diminished scale is the only way to play an 8 note scale without 2 consecutive halfsteps.
The whole-tone scale is, of course, the only way to play an evenly distributed 6-note scale. I have not worked out the math, but my sense is that just about any other 6 note scale without 2 consecutive halfsteps will be subsets of either the 7 note scales or the diminished scale (ie, the augmented scale is just a subset of the diminished scale).
Add in the chromatic scale, and really you're just dealing with 7 scales and their modes.
There are, of course, always things like synthetic scales, scales that don't repeat at the octave, Holdsworth-esque scales with more than 2 consecutive half steps. But those 7 scales will cover you for 98% of all musical situations AND a thorough understanding of them will make the more exotic stuff much easier to grasp.
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Yep. Once I did some of this, I was actually embarrassed by what I hadn't understood before doing it. It really clears up a lot of ambiguity around things like...what is implied by a flat five or sharp five in a dominant chord symbol for example. What is explicitly implied usually has a natural five as well and is much easier to handle with that knowledge. The altered options really are OPTIONS. Originally Posted by Reg
I really blew off harmonic minor for too long.
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Can you elaborate? Originally Posted by matt.guitarteacher
Also: "Explicitly implied?"
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HRT = Horizontal Rhythmic Technique? Ahahahahaha!
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Cheers! I need to get onto my Irish passport .... #brexit Originally Posted by destinytot
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(If I haven't already further reduced my already slim chance through the contents of this thread lol.)
As Dave King says - 'and that's NOT how you get the gig!'
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Yea... if you want the gig
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Following dasein's lead.... when you take that information and then start to see how pentatonics fit and can work within different note collections... it become very guitar fretboard friendly. I generally use standard min pentatonics and the maj 6th sub of b7 versions and their inversions... which will mechanically create different targets just from the fingerings.
It will open almost all doors and help expand yore ears. Maybe even change some note choices you use. Some of those perfect choices might change... at least expand. And you'll even have some organization with using.
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What do you mean here? Originally Posted by Reg
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Ha. Yeah. One of my favorite movies by the way. Originally Posted by Boston Joe
7#5 usually has minor as a reference most of the time. Classical borrowing from minor etc. You can sub in melodic minor or symmetrical scale "substitutions", but basic harmonic minor is usually the "reference" harmony for which they're subbing??
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Sounds like a good gig to me.... (See above ;-)) Originally Posted by Reg
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In more traditional jazz settings 7#5 often comes from blue note (b3) in melody. Think Mood Indigo... Originally Posted by matt.guitarteacher
It was a really common chord for 20s and 30s - I'd say much more common than 7b9....
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Who needs Berklee when you have free theory threads on jazzguitar forum?
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Leaving aside the silly fees (and also the fact that students play for a little more than the price of a few bags of peanuts), Berklee's presence contributes positively to local life as well as to the economy. Originally Posted by christianm77
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yeah. So 7b13nat9? Originally Posted by christianm77
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