Yeah. Don't you ever say G# again, or else I might have to open a can of whoop *** on you.

Heh, sorry sorry. I've got all the wrong keys in my head frm playing in church ensemble, the keyboard player always plays in "F#, G# and Eb"

But terminology aside, yall see my point right?

your keyboard player is a drug addict.

[QUOTE=Left Shoe]your keyboard player is a drug addict.[/QUOTE]
He learned from a Melbay book.

And thr lord spake and everything thus was revealead...Or something equally epic.

...thats kinda scary, is he taking lessons?

No. He's gotten to where he can play pretty well after 5 years now, but his musical knowledge is really off and flawed.

[QUOTE=Left Shoe]your keyboard player is a drug addict.[/QUOTE]
Those write the best music anyway.

My favorite chord is any triad on my 6 string Spector.

[QUOTE=Frequently Tripping]Those write the best music anyway.

My favorite chord is any triad on my 6 string Spector.[/QUOTE]
i disagree. have you tried composing while inebriated? you compose much better sober. good musicians can be drug addicts, which does not mean all drug addicts are good musicians.

I disagree, I am really creative when I am stoned.

bassists are good stoned

not so much guitarists. they are more suited for acid.

on the subject tho, does anyone else use diminished scales? it takes a while to learn their feel and how to use them but they rule... maybe not so much for bassists, as i play guitar mainly, but shya?

[QUOTE=canadapantsman]bassists are good stoned

not so much guitarists. they are more suited for acid.[/QUOTE]


actually i'd say guitarists are more suited for cocaine. at least when it comes to playing metal.


either way i love playing music when i'm on drugs. stoned, whatever, it's awesome. i prefer being stoned usually though. :smoke: hahaha

See, what drugs and alcohol really do is make you think you're playing really well. You're playing isn't changing, only your perception. Remember that next time you wanna get hammered before a gig.

[QUOTE=canadapantsman]bassists are good stoned

not so much guitarists. they are more suited for acid.

on the subject tho, does anyone else use diminished scales? [/QUOTE]


That's a dumb statement about guitar player's being better suited for acid. Whatever, any well versed musician uses diminished chords.

There would be less traffic problems if they taught people to drive drunk in Drivers Ed.

My uncle, a professional independent producer in Nashville, used to perform at a local club high all the time, thinking that he was making the greatest music ever. When he heard a recording of himself, he realized his playing was such utter sh[size=2]i[/size]t while high that at that moment went completely sober.

[QUOTE=TheDancingHorse]See, what drugs and alcohol really do is make you think you're playing really well. You're playing isn't changing, only your perception. Remember that next time you wanna get hammered before a gig.[/QUOTE]


That's not necessarily true, my guitarist plays way better drunk and I've heard lots of people who were sober at the time hearing him verify that.

A great deal of putting on a good show is confidence. What's another name for confidence in a bottle?

[QUOTE=Jody LeCompte]A great deal of putting on a good show is confidence. What's another name for confidence in a bottle?[/QUOTE]

hahahaha...confidence in a bottle. I've never heard that one before.

OK, I have a theory question:

Say I'm reading a piece of music (in this case, [i]Clemens non Papa[/i] by Jacob Clement). Right after the treble clef is one flat sign on one of the staff lines (B, to be exact). That means it's in the key of F major (FGABbCDE), right, and that every note on that line is flat unless they put a natural sign next to it?

I'm totally screwed for this intro to music theory class. My teacher assumes we know intervals and we're talking about triads and all sorts of stuff. I'm totally lost. We have to read the third chapter in the book (I already read the first two myself and I'm fairly lost) and I need to read a piece of music and label all the intervals and scale degrees, not to mention workbook assignments that I don't understand.

I can't drop the class anymore, either; too late. I fiugre the professor would start from scratch and move quickly but he's starting way over my head. Any help on how to catch up is appreciated.

-Gav

get those books i told you to check out.

^ You didn't answer my question, tool. :p

I will, man, I will...or I'm dropping down to the lower class. I think I'm going with option B.

-Gav

To answer your question, yes. You're right in all accounts.

Gav, yes, you are right. It stays the same on that line at all times unless otherwise noted (ie, a natural somewhere on the 2nd ledger line). Also, a triad is just another name for a chord of some sort. Three notes...triad...get it?

[QUOTE=I0Play0Bass]OK, I have a theory question:

Say I'm reading a piece of music (in this case, [i]Clemens non Papa[/i] by Jacob Clement). Right after the treble clef is one flat sign on one of the staff lines (B, to be exact). That means it's in the key of F major (FGABbCDE), right, and that every note on that line is flat unless they put a natural sign next to it?


[/QUOTE]



It would mean every B note in every octave is flat unless it has a natural sign, not just the B on the line.


There's also double flats (bb) and double sharps (augmented, notated as an "x"). That's where it gets really fun.

No, that's not where it gets real fun. Where it gets [i]real[/i] fun is quarter flats (d), three quarter flats (db), quarter sharps and three quarter sharps. There isn't anyway to symbolize the latter two on the keyboard, but what they look like are, for the quarter sharp, the sharp symbol (#) split in half vertically, and for the three quarter sharp the sharp symbol with another line in it vertically.

[quote=HaVIC5]No, that's not where it gets real fun. Where it gets [I]real[/I] fun is quarter flats (d), three quarter flats (db), quarter sharps and three quarter sharps. There isn't anyway to symbolize the latter two on the keyboard, but what they look like are, for the quarter sharp, the sharp symbol (#) split in half vertically, and for the three quarter sharp the sharp symbol with another line in it vertically.[/quote]

I'll assume that I cannot reach these notes with my crappy semi-tone based bass?

Unless you prebend and hold, no, generally not. But prebending is an option.

Hmm, are these quarter sharps/flats predominantly fretless string instrument tools? I play sax, it seems like it would take a crazy embouchre change to get a quarter step flat.

Not really. Many sax players can bend a whole step or more with just embouchre changes. And yes, they're primarily tools used on fretless stringed instruments and voice. Quarter tones are used primarily in ethnic music, namely Middle Eastern/Turkish and some (but definitely not all) Indian.

[quote=HaVIC5]Unless you prebend and hold, no, generally not. But prebending is an option.[/quote]

Well, I was assuming that pre-bending was not an option.

Could you imagine a piano created with quartertone keys?

There actually have been quarter tone pieces written for piano, the most famous of which by Charles Ives. They are typically played with two keyboards - one a quarter step flat from the other.

I've played a piano in a store that was tuned a quarter step flat. It was a strange experience.

[QUOTE=HaVIC5]Not really. Many sax players can bend a whole step or more with just embouchre changes. And yes, they're primarily tools used on fretless stringed instruments and voice. Quarter tones are used primarily in ethnic music, namely Middle Eastern/Turkish and some (but definitely not all) Indian.[/QUOTE]
Jeez, over a whole step? I can sort of see a half step, but a whole step is insane.
I don't think my ears would ever be good enough to do that.

It depends largely on the type of sax (I think sopranos are the ones that will be able to bend like that more practically), and the reed. Some are specially designed for bending. In the mouths of seasoned saxists, it's definitely possible

[QUOTE=EADG]I've played a piano in a store that was tuned a quarter step flat. It was a strange experience.[/QUOTE]
Yeah, that would drive me nuts. What also drives me nuts is the transpose feature on some electric pianos that transposes what you're playing up or down up to an octave. Octaves are all right, but anything else, including just a major second up and down, is just plain bizzare to my ears, since my relative pitch to pianos is very good at this point.

[QUOTE=HaVIC5]Yeah, that would drive me nuts. What also drives me nuts is the transpose feature on some electric pianos that transposes what you're playing up or down up to an octave. Octaves are all right, but anything else, including just a major second up and down, is just plain bizzare to my ears, since my relative pitch to pianos is very good at this point.[/QUOTE]


I'm not really much of a piano player but I can imagine hitting a certain key and having it produce a note totally different than what you're using to hearing.

This is why I have a lot of trouble playing in weird Manring tunings. I totally forget where all of my usual notes and patterns are.

[quote=HaVIC5]Yeah, that would drive me nuts. What also drives me nuts is the transpose feature on some electric pianos that transposes what you're playing up or down up to an octave. Octaves are all right, but anything else, including just a major second up and down, is just plain bizzare to my ears, since my relative pitch to pianos is very good at this point.[/quote]

I've noticed the same thing.

</3 @ Casio

Wtf @ "Havics"?

[QUOTE=Akira]Jeez, over a whole step? I can sort of see a half step, but a whole step is insane.
I don't think my ears would ever be good enough to do that.[/QUOTE]

My friend says his clarinet playing buddy can bend notes down 3 half steps. I wanna see that.

[QUOTE=HaVICS]I've noticed the same thing.

</3 @ Casio[/QUOTE]
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