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Old 11-02-2008, 10:14 PM   #1171
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Why is this thread still stickied...
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Old 11-02-2008, 11:09 PM   #1172
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ask me something, anything
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Old 11-02-2008, 11:22 PM   #1173
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ask me too. i dare ya.
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Old 11-02-2008, 11:27 PM   #1174
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discuss fundamental principles and paradigms behind Western drum kit arranging and composition
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Old 11-02-2008, 11:29 PM   #1175
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that's not music theory. drummers just hit stuff.
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Old 11-03-2008, 12:19 AM   #1176
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discuss practical uses of quartal/quintal harmony in Western music.
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Old 11-03-2008, 12:27 AM   #1177
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that's not music theory. drummers just hit stuff.
"it wasn't exactly a soup question now was it."

Wt r moades?
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Old 11-05-2008, 02:23 AM   #1178
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name this scale


C Db E F G A Bb C
1 b2 3 4 5 6 b7 8
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Old 11-05-2008, 09:13 AM   #1179
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mixolydian flat 9
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Old 11-05-2008, 09:35 AM   #1180
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"it wasn't exactly a soup question now was it."
Win.

You continue to impress me with your music and movie taste.
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Old 11-05-2008, 01:38 PM   #1181
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Spiff...are you flirting with me? It's like being hit on by a celebrity.


Finding Forrester has some of the coolest one liners ever.
"You're the man now, dog."


That line is only epic when Sean Connery says it.
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Old 11-05-2008, 03:47 PM   #1182
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mixolydian flat 9
did you just make that up
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Old 11-05-2008, 04:06 PM   #1183
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did you just make that up
For scales like that, it's usually most effective to just describe them as alterations of the major scale modes that we're used to; especially in a jazz context.

C Db E F G A Bb C

I bet it'd sound really nice a 7b9.
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Old 11-05-2008, 04:11 PM   #1184
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discuss practical uses of quartal/quintal harmony in Western music.
There are none.

/discussion.
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Old 11-05-2008, 07:43 PM   #1185
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discuss practical uses of quartal/quintal harmony in Western music.
Practical? For what context? Any and all jazz after 1960 in any context, and all classical music written from about 1910 on.
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Old 11-05-2008, 07:44 PM   #1186
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Quote:
Originally Posted by chronopops View Post
For scales like that, it's usually most effective to just describe them as alterations of the major scale modes that we're used to; especially in a jazz context.

C Db E F G A Bb C

I bet it'd sound really nice a 7b9.
Yeah man, that b9 with a natural 13, great sound, especially with the 13 as the upper voice. The b9 in the upper voice has a cool sound too.
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Old 11-05-2008, 08:27 PM   #1187
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For scales like that, it's usually most effective to just describe them as alterations of the major scale modes that we're used to; especially in a jazz context.

C Db E F G A Bb C

I bet it'd sound really nice a 7b9.
ye I was using it for 7 and 7b9
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Old 11-05-2008, 08:28 PM   #1188
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Practical? For what context? Any and all jazz after 1960 in any context, and all classical music written from about 1910 on.
can you be more specific
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Old 11-19-2008, 11:10 AM   #1189
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hey havic5, i was wondering, when comes to key signatures.....is there a difference between the key sigs for bass clef and treble clef?
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Old 11-19-2008, 12:07 PM   #1190
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same sharps and flats, just adjust them to fit the clef
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Old 11-19-2008, 02:47 PM   #1191
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Ya. Order of sharps and flats is always; FCGDAEB - BEADGCF, its just a matter of knowing which lines and spaces those fit on.
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Old 11-19-2008, 02:49 PM   #1192
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can you be more specific
Well. Quartal harmony can be used for modal music to create movement without resorting to traditional harmony.

And uh, you can also use quartal voicings as voicings for extended chords. Like a quartal chord built on D is essentially just a Dm11.
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Old 11-19-2008, 04:35 PM   #1193
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Quartal harmony in jazz can be thought of either a reinterpretation of tertian structures (ie, this quartal voicing has the 1, 11, b7 and b3), or as a pandiatonic voicing method to express a pitch set. Take a pitch set, like Dorian, or Melodic minor, and stack several diatonic fourths in that pitch set like you would thirds. You then have a quartal representation of that pitch set - one out of seven of them. Shift that quartal voicing a halfstep away and then you're sideslipping, which is of course what McCoy Tyner, godfather of fourth voicings, loved to do. Quartal harmony usually implies modal harmony - this concept of the diatonic pitch set - because individual chord tones are rather irrelevant. Rather, the overall "color" creating by the moving voicings is more important, which creates an overall impression.
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Old 11-19-2008, 09:50 PM   #1194
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Quartal harmony in jazz can be thought of either a reinterpretation of tertian structures (ie, this quartal voicing has the 1, 11, b7 and b3), or as a pandiatonic voicing method to express a pitch set. Take a pitch set, like Dorian, or Melodic minor, and stack several diatonic fourths in that pitch set like you would thirds. You then have a quartal representation of that pitch set - one out of seven of them. Shift that quartal voicing a halfstep away and then you're sideslipping, which is of course what McCoy Tyner, godfather of fourth voicings, loved to do. Quartal harmony usually implies modal harmony - this concept of the diatonic pitch set - because individual chord tones are rather irrelevant. Rather, the overall "color" creating by the moving voicings is more important, which creates an overall impression.
what
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Old 11-20-2008, 10:51 AM   #1195
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seriously, what
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Old 11-20-2008, 10:53 AM   #1196
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Lydian Chromatic Concept in inversion?????
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Old 11-20-2008, 11:19 AM   #1197
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seriously, what
Read "Jazz Composition" by Ted Pease and it'll give you a brief idea of pandiatonicism. It's basically modal harmony.
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Old 11-20-2008, 11:20 AM   #1198
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Lydian Chromatic Concept in inversion?????
Dorian chromatic concept?
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Old 11-20-2008, 11:50 AM   #1199
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Sideslipping?

Locrian altered concept?
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Old 11-20-2008, 04:29 PM   #1200
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Sideslipping is playing wrong notes, basically. It's playing outside of the key for a period of time and then coming back into it. Basically all jazz improvisers from the 60's on do this a lot, it's what gives a lot of life to the sound of the music. If you played "right" notes all the time, it sounds boring as hell.
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