> ..
>> Three things to try:
>>
>> Resolve a sus2 to a tonic ( C D G -> C E G )
>
> OK - but "to tonic" means D -> C (i.e.the tonic note, there is no E. As
> written above, D is resolving upwards to E, which is both fine and
> familiar. Might be as a result of a suspension; or the D might be seen
> as an accented passing note or even as an appoggiatura.
>
To a tonic *chord*. This is a small cadence. And this is just me
talking, but you won't get very far analyzing no boogie-woogie with
Western harmonic theory... :)
Many of Billy Preston's AME church playing styles come from Africa,
where they don't even use the exact same *scales* not temperaments,
much less the same motions.
>> Tritone to 4th ( F# C -> F C )
>
> If you mean "resolve", that would make more sense as Gb->F (e.g. in Db
> major or minor etc). F#-C would be expected/assumed to resolve upwards
> to G as if in G major. Or - both can move,inwards = Gb+C ->F+Db. Or
> outwards F#/C -> G/B. This is really the magic and mystery of the
> tritone - a sort of musical wormhole from one tonality to another remote
> one.
>
These are little gnat-moves gospel players use all the time. This was
intended just as a short and pitifully inadequate catalog of a few of
them.
>> Minor-major 3 5 thing ( D# G -> E G in the key of C )
>>
>
> If really minor/major, that should be Eb->E.
>
Sure. Although to my ear, the D# is part of a B major* chord being slid
up to a C in the role of a grace note. If you play a partial Bmaj
( B D# ) -> ( C E ) it sounds remarkably the same.
*or G aug or one of the dims or anything else that's close to a B major
> D#-E is raised second resolving to E (in C Major), which is a different
> "meaning" altogether - a "chromatic passing note". Might well be
> harmonised by that F# moving to G as well. Common in the Classical
> period (Mozart etc)..
>
I'm not familiar enough with that idiom to know if it serves the same
role. In blues/gospel/country, the idea is to make major/minorness
ambiguous.
> In the general case, if a notation can meaningfully be used which avoids
> modifying the same letter name, it will be, as being essentially easier
> to read.
>
Copyist problem :)
> Richard Dobson
>
--
Les Cargill
Reply by Richard Dobson●June 17, 20152015-06-17
..
> Three things to try:
>
> Resolve a sus2 to a tonic ( C D G -> C E G )
OK - but "to tonic" means D -> C (i.e.the tonic note, there is no E. As
written above, D is resolving upwards to E, which is both fine and
familiar. Might be as a result of a suspension; or the D might be seen
as an accented passing note or even as an appoggiatura.
> Tritone to 4th ( F# C -> F C )
If you mean "resolve", that would make more sense as Gb->F (e.g. in Db
major or minor etc). F#-C would be expected/assumed to resolve upwards
to G as if in G major. Or - both can move,inwards = Gb+C ->F+Db. Or
outwards F#/C -> G/B. This is really the magic and mystery of the
tritone - a sort of musical wormhole from one tonality to another remote
one.
> Minor-major 3 5 thing ( D# G -> E G in the key of C )
>
If really minor/major, that should be Eb->E.
D#-E is raised second resolving to E (in C Major), which is a different
"meaning" altogether - a "chromatic passing note". Might well be
harmonised by that F# moving to G as well. Common in the Classical
period (Mozart etc)..
In the general case, if a notation can meaningfully be used which avoids
modifying the same letter name, it will be, as being essentially easier
to read.
Richard Dobson
Reply by Les Cargill●June 16, 20152015-06-16
Randy Yates wrote:
> eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>
>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>> <richarddobson@blueyonder.co.uk> wrote:
>>
>>> On 16/06/2015 04:44, Randy Yates wrote:
>>> ..
>>>>
>>>> I think it may be more proper to use the term "major scale" instead of
>>>> "diatonic scale" when speaking of intervals in the context of tuning
>>>> (e.g., fifths). There are other types of diatonic scales in which the
>>>> 5th term is not an interval of a "fifth" (in the major sense), for
>>>> example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>>
>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>
>>> That is Locrian Mode - not exactly widely used in the West ("of
>>> theoretical interest only"). There are Indian ragas that are very
>>> similar, e.g. in not having a note a perfect fifth above the tonic
>>> ("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>> tones; all the classical church modes are diatonic, e.g. Dorian mode
>>> has the sound when you play the white notes starting on D: E,F,G...D.
>>>
>>> A common shorthand term these days is "the natural scale" - the white
>>> notes on the piano, the lines and spaces on the staff. We also extend
>>> this to refer to "natural major" and "natural minor".
>>>
>>> The other aspect that applies to this discussion is that the names of
>>> musical intervals don't simply refer to the span in semitones, they
>>> refer to spelling. Thus the span of three semitones may be a minor third
>>> (D-F) or an augmented second (D-E#). The latter would be the correct
>>> notation in F# minor. The tritone (lit. three tones) can be an augmented
>>> fourth or a diminished fifth depending on the spelling (C-F# or C-Gb).
>>> The attribute "fourth" means the span is four letter names as in C
>>> something to F something (or - which lines or spaces they appear on).
>>> Of course when we just listen to intervals, we don't know the spelling
>>> (though if the music is diatonic and not heavily chromatic we can deduce
>>> it easily enough). One of the "rules" of scales is that every letter
>>> name is represented. Thus in G# minor the leading note (seventh step) is
>>> an F## ("double sharp").
>>>
>>> With all this stuff, it is a wonder sometimes we ever get around to
>>> playing anything.
>>>
>>> Richard Dobson
>>
>> Then there are those of us who skip 99% of that stuff and just play by
>> ear. More playing time that way. ;)
>
> Hear, Hear! I've been trying to learn some of those gospel-ish riffs
> where they "roll" the notes, like in the introduction of Billy Preston's
> "Nothing from Nothing":
>
> https://www.youtube.com/watch?v=hjzkG_QeJfA
>
On Tue, 16 Jun 2015 17:58:05 +0000, Eric Jacobsen wrote:
> On Tue, 16 Jun 2015 12:04:02 -0500, Tim Wescott
> <seemywebsite@myfooter.really> wrote:
>
>>On Tue, 16 Jun 2015 16:33:52 +0000, Eric Jacobsen wrote:
>>
>>> On Tue, 16 Jun 2015 11:41:03 -0400, Randy Yates
>>> <yates@digitalsignallabs.com> wrote:
>>>
>>>>eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>>>>
>>>>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>>>>> <richarddobson@blueyonder.co.uk> wrote:
>>>>>
>>>>>>On 16/06/2015 04:44, Randy Yates wrote:
>>>>>>..
>>>>>>>
>>>>>>> I think it may be more proper to use the term "major scale"
>>>>>>> instead of "diatonic scale" when speaking of intervals in the
>>>>>>> context of tuning (e.g., fifths). There are other types of
>>>>>>> diatonic scales in which the 5th term is not an interval of a
>>>>>>> "fifth" (in the major sense), for example B-C-D-E-F-G-A-B: B to F
>>>>>>> is not a "fifth".
>>>>>>>
>>>>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>>>>
>>>>>>That is Locrian Mode - not exactly widely used in the West ("of
>>>>>>theoretical interest only"). There are Indian ragas that are very
>>>>>>similar, e.g. in not having a note a perfect fifth above the tonic
>>>>>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones
>>>>>>and tones; all the classical church modes are diatonic, e.g.
>>>>>>Dorian mode has the sound when you play the white notes starting on
>>>>>>D: E,F,G...D.
>>>>>>
>>>>>>A common shorthand term these days is "the natural scale" - the
>>>>>>white notes on the piano, the lines and spaces on the staff. We also
>>>>>>extend this to refer to "natural major" and "natural minor".
>>>>>>
>>>>>>The other aspect that applies to this discussion is that the names
>>>>>>of musical intervals don't simply refer to the span in semitones,
>>>>>>they refer to spelling. Thus the span of three semitones may be a
>>>>>>minor third (D-F) or an augmented second (D-E#). The latter would be
>>>>>>the correct notation in F# minor. The tritone (lit. three tones) can
>>>>>>be an augmented fourth or a diminished fifth depending on the
>>>>>>spelling (C-F#
>>>>>>or C-Gb). The attribute "fourth" means the span is four letter names
>>>>>>as in C something to F something (or - which lines or spaces they
>>>>>>appear on). Of course when we just listen to intervals, we don't
>>>>>>know the spelling (though if the music is diatonic and not heavily
>>>>>>chromatic we can deduce it easily enough). One of the "rules" of
>>>>>>scales is that every letter name is represented. Thus in G# minor
>>>>>>the leading note (seventh step) is an F## ("double sharp").
>>>>>>
>>>>>>With all this stuff, it is a wonder sometimes we ever get around to
>>>>>>playing anything.
>>>>>>
>>>>>>Richard Dobson
>>>>>
>>>>> Then there are those of us who skip 99% of that stuff and just play
>>>>> by ear. More playing time that way. ;)
>>>>
>>>>Hear, Hear! I've been trying to learn some of those gospel-ish riffs
>>>>where they "roll" the notes, like in the introduction of Billy
>>>>Preston's "Nothing from Nothing":
>>>>
>>>> https://www.youtube.com/watch?v=hjzkG_QeJfA
>>>>
>>>>or in the Johnny River's remake of "Rockin' Pneumonia and the Boogie
>>>>Woogie Flu"
>>>>
>>>> https://www.youtube.com/watch?v=UvJ78hYI6wk
>>>>
>>>>but I'm not quite getting the technique.
>>>
>>> These days I spend more time on the guitar than keyboard. I've also
>>> been wanting to dig the saxophones back out, which have been sitting
>>> for more than a decade...argh, will probably have to learn everything
>>> all over again.
>>>
>>> Hobbies are good to have. I think I have too many.
>>
>>Not to mention you'll probably have to take that Sax to the repair shop
>>to have all the leaky pads replaced (ask me how I know!)
>
> I've rebuilt saxophones and clarinets before, and last time I did have
> them out for inspection they seemed okay (they've been stored well, and
> had good quality pads to begin with). So that's not a big deal even if
> a few pads do leak.
>
> My mouth is going to need a lot more adjustment than the pads, I
> suspect.
Getting your embouchure* back in shape after decades of layoff is an
adventure. Your muscles know what to do, but don't have the strength for
it. The advice that I know, which pretty much applies to getting any set
of muscles back into shape, is to work at it until it's uncomfortable but
not excruciating, rest for five or ten minutes, and repeat. If you can
do two or three reps a day then in about a month you'll be back to 90%,
and after a couple of more months you'll be hitting all the upper-
register notes that require the cheater fingerings.
* I had to look that up
--
Tim Wescott
Wescott Design Services
http://www.wescottdesign.com
Reply by Randy Yates●June 16, 20152015-06-16
eric.jacobsen@ieee.org (Eric Jacobsen) writes:
> [...]
> On Tue, 16 Jun 2015 12:04:02 -0500, Tim Wescott
>>Not to mention you'll probably have to take that Sax to the repair shop
>>to have all the leaky pads replaced (ask me how I know!)
>
> I've rebuilt saxophones and clarinets before, and last time I did have
> them out for inspection they seemed okay (they've been stored well,
> and had good quality pads to begin with). So that's not a big deal
> even if a few pads do leak.
>
> My mouth is going to need a lot more adjustment than the pads, I
> suspect.
>
>>When I took my old clarinet (two different species of wood and at least
>>two different plastics) in to be refurbished the repair guy went into
>>Instant Extreme Diplomatic Mode to explain to me that when he was done it
>>probably wouldn't be worth much more than the repair, and I should only
>>consider it if it had some sentimental value.
>>
>>When I explained that when I was starting band in 5th grade it was a hand-
>>me-down from my mother, who played it in band in 5th grade, he just took
>>the thing and said "we'll have it ready for you in a week". (It's a
>>crappy clarinet. We thought we'd lost it recently so I bought some no-
>>name one at a pawn shop for $150, which is much better.)
>
> I have a very old, very nice middle-quality all-wood Noblet clarinet
> that I bought many decades ago for $35. I worry about the body of
> that more than the pads on all the horns.
Cool to hear all the instruments folks have played. I think it was a
used Leblanc I had back in Jr High/High School. Played in marching and
symphonic band 8th-11th grade (plenty of females), but left the school
band in my senior year to gig with our rock band.
--
Randy Yates
Digital Signal Labs
http://www.digitalsignallabs.com
Reply by Eric Jacobsen●June 16, 20152015-06-16
On Tue, 16 Jun 2015 12:04:02 -0500, Tim Wescott
<seemywebsite@myfooter.really> wrote:
>On Tue, 16 Jun 2015 16:33:52 +0000, Eric Jacobsen wrote:
>
>> On Tue, 16 Jun 2015 11:41:03 -0400, Randy Yates
>> <yates@digitalsignallabs.com> wrote:
>>
>>>eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>>>
>>>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>>>> <richarddobson@blueyonder.co.uk> wrote:
>>>>
>>>>>On 16/06/2015 04:44, Randy Yates wrote:
>>>>>..
>>>>>>
>>>>>> I think it may be more proper to use the term "major scale" instead
>>>>>> of "diatonic scale" when speaking of intervals in the context of
>>>>>> tuning (e.g., fifths). There are other types of diatonic scales in
>>>>>> which the 5th term is not an interval of a "fifth" (in the major
>>>>>> sense), for example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>>>>
>>>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>>>
>>>>>That is Locrian Mode - not exactly widely used in the West ("of
>>>>>theoretical interest only"). There are Indian ragas that are very
>>>>>similar, e.g. in not having a note a perfect fifth above the tonic
>>>>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>>>>tones; all the classical church modes are diatonic, e.g. Dorian mode
>>>>>has the sound when you play the white notes starting on D: E,F,G...D.
>>>>>
>>>>>A common shorthand term these days is "the natural scale" - the white
>>>>>notes on the piano, the lines and spaces on the staff. We also extend
>>>>>this to refer to "natural major" and "natural minor".
>>>>>
>>>>>The other aspect that applies to this discussion is that the names of
>>>>>musical intervals don't simply refer to the span in semitones, they
>>>>>refer to spelling. Thus the span of three semitones may be a minor
>>>>>third (D-F) or an augmented second (D-E#). The latter would be the
>>>>>correct notation in F# minor. The tritone (lit. three tones) can be an
>>>>>augmented fourth or a diminished fifth depending on the spelling (C-F#
>>>>>or C-Gb). The attribute "fourth" means the span is four letter names
>>>>>as in C something to F something (or - which lines or spaces they
>>>>>appear on). Of course when we just listen to intervals, we don't know
>>>>>the spelling (though if the music is diatonic and not heavily
>>>>>chromatic we can deduce it easily enough). One of the "rules" of
>>>>>scales is that every letter name is represented. Thus in G# minor the
>>>>>leading note (seventh step) is an F## ("double sharp").
>>>>>
>>>>>With all this stuff, it is a wonder sometimes we ever get around to
>>>>>playing anything.
>>>>>
>>>>>Richard Dobson
>>>>
>>>> Then there are those of us who skip 99% of that stuff and just play by
>>>> ear. More playing time that way. ;)
>>>
>>>Hear, Hear! I've been trying to learn some of those gospel-ish riffs
>>>where they "roll" the notes, like in the introduction of Billy Preston's
>>>"Nothing from Nothing":
>>>
>>> https://www.youtube.com/watch?v=hjzkG_QeJfA
>>>
>>>or in the Johnny River's remake of "Rockin' Pneumonia and the Boogie
>>>Woogie Flu"
>>>
>>> https://www.youtube.com/watch?v=UvJ78hYI6wk
>>>
>>>but I'm not quite getting the technique.
>>
>> These days I spend more time on the guitar than keyboard. I've also
>> been wanting to dig the saxophones back out, which have been sitting for
>> more than a decade...argh, will probably have to learn everything all
>> over again.
>>
>> Hobbies are good to have. I think I have too many.
>
>Not to mention you'll probably have to take that Sax to the repair shop
>to have all the leaky pads replaced (ask me how I know!)
I've rebuilt saxophones and clarinets before, and last time I did have
them out for inspection they seemed okay (they've been stored well,
and had good quality pads to begin with). So that's not a big deal
even if a few pads do leak.
My mouth is going to need a lot more adjustment than the pads, I
suspect.
>When I took my old clarinet (two different species of wood and at least
>two different plastics) in to be refurbished the repair guy went into
>Instant Extreme Diplomatic Mode to explain to me that when he was done it
>probably wouldn't be worth much more than the repair, and I should only
>consider it if it had some sentimental value.
>
>When I explained that when I was starting band in 5th grade it was a hand-
>me-down from my mother, who played it in band in 5th grade, he just took
>the thing and said "we'll have it ready for you in a week". (It's a
>crappy clarinet. We thought we'd lost it recently so I bought some no-
>name one at a pawn shop for $150, which is much better.)
I have a very old, very nice middle-quality all-wood Noblet clarinet
that I bought many decades ago for $35. I worry about the body of
that more than the pads on all the horns.
Tim Wescott <seemywebsite@myfooter.really> writes:
> On Tue, 16 Jun 2015 16:33:52 +0000, Eric Jacobsen wrote:
>
>> On Tue, 16 Jun 2015 11:41:03 -0400, Randy Yates
>> <yates@digitalsignallabs.com> wrote:
>>
>>>eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>>>
>>>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>>>> <richarddobson@blueyonder.co.uk> wrote:
>>>>
>>>>>On 16/06/2015 04:44, Randy Yates wrote:
>>>>>..
>>>>>>
>>>>>> I think it may be more proper to use the term "major scale" instead
>>>>>> of "diatonic scale" when speaking of intervals in the context of
>>>>>> tuning (e.g., fifths). There are other types of diatonic scales in
>>>>>> which the 5th term is not an interval of a "fifth" (in the major
>>>>>> sense), for example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>>>>
>>>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>>>
>>>>>That is Locrian Mode - not exactly widely used in the West ("of
>>>>>theoretical interest only"). There are Indian ragas that are very
>>>>>similar, e.g. in not having a note a perfect fifth above the tonic
>>>>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>>>>tones; all the classical church modes are diatonic, e.g. Dorian mode
>>>>>has the sound when you play the white notes starting on D: E,F,G...D.
>>>>>
>>>>>A common shorthand term these days is "the natural scale" - the white
>>>>>notes on the piano, the lines and spaces on the staff. We also extend
>>>>>this to refer to "natural major" and "natural minor".
>>>>>
>>>>>The other aspect that applies to this discussion is that the names of
>>>>>musical intervals don't simply refer to the span in semitones, they
>>>>>refer to spelling. Thus the span of three semitones may be a minor
>>>>>third (D-F) or an augmented second (D-E#). The latter would be the
>>>>>correct notation in F# minor. The tritone (lit. three tones) can be an
>>>>>augmented fourth or a diminished fifth depending on the spelling (C-F#
>>>>>or C-Gb). The attribute "fourth" means the span is four letter names
>>>>>as in C something to F something (or - which lines or spaces they
>>>>>appear on). Of course when we just listen to intervals, we don't know
>>>>>the spelling (though if the music is diatonic and not heavily
>>>>>chromatic we can deduce it easily enough). One of the "rules" of
>>>>>scales is that every letter name is represented. Thus in G# minor the
>>>>>leading note (seventh step) is an F## ("double sharp").
>>>>>
>>>>>With all this stuff, it is a wonder sometimes we ever get around to
>>>>>playing anything.
>>>>>
>>>>>Richard Dobson
>>>>
>>>> Then there are those of us who skip 99% of that stuff and just play by
>>>> ear. More playing time that way. ;)
>>>
>>>Hear, Hear! I've been trying to learn some of those gospel-ish riffs
>>>where they "roll" the notes, like in the introduction of Billy Preston's
>>>"Nothing from Nothing":
>>>
>>> https://www.youtube.com/watch?v=hjzkG_QeJfA
>>>
>>>or in the Johnny River's remake of "Rockin' Pneumonia and the Boogie
>>>Woogie Flu"
>>>
>>> https://www.youtube.com/watch?v=UvJ78hYI6wk
>>>
>>>but I'm not quite getting the technique.
>>
>> These days I spend more time on the guitar than keyboard. I've also
>> been wanting to dig the saxophones back out, which have been sitting for
>> more than a decade...argh, will probably have to learn everything all
>> over again.
>>
>> Hobbies are good to have. I think I have too many.
>
> Not to mention you'll probably have to take that Sax to the repair shop
> to have all the leaky pads replaced (ask me how I know!)
>
> When I took my old clarinet (two different species of wood and at least
> two different plastics) in to be refurbished the repair guy went into
> Instant Extreme Diplomatic Mode to explain to me that when he was done it
> probably wouldn't be worth much more than the repair, and I should only
> consider it if it had some sentimental value.
>
> When I explained that when I was starting band in 5th grade it was a hand-
> me-down from my mother, who played it in band in 5th grade, he just took
> the thing and said "we'll have it ready for you in a week". (It's a
> crappy clarinet. We thought we'd lost it recently so I bought some no-
> name one at a pawn shop for $150, which is much better.)
Hey, maybe we can put together a "Greatest Hits of Comp.Dsp"?!? :)
--
Randy Yates
Digital Signal Labs
http://www.digitalsignallabs.com
Reply by Tim Wescott●June 16, 20152015-06-16
On Tue, 16 Jun 2015 16:33:52 +0000, Eric Jacobsen wrote:
> On Tue, 16 Jun 2015 11:41:03 -0400, Randy Yates
> <yates@digitalsignallabs.com> wrote:
>
>>eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>>
>>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>>> <richarddobson@blueyonder.co.uk> wrote:
>>>
>>>>On 16/06/2015 04:44, Randy Yates wrote:
>>>>..
>>>>>
>>>>> I think it may be more proper to use the term "major scale" instead
>>>>> of "diatonic scale" when speaking of intervals in the context of
>>>>> tuning (e.g., fifths). There are other types of diatonic scales in
>>>>> which the 5th term is not an interval of a "fifth" (in the major
>>>>> sense), for example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>>>
>>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>>
>>>>That is Locrian Mode - not exactly widely used in the West ("of
>>>>theoretical interest only"). There are Indian ragas that are very
>>>>similar, e.g. in not having a note a perfect fifth above the tonic
>>>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>>>tones; all the classical church modes are diatonic, e.g. Dorian mode
>>>>has the sound when you play the white notes starting on D: E,F,G...D.
>>>>
>>>>A common shorthand term these days is "the natural scale" - the white
>>>>notes on the piano, the lines and spaces on the staff. We also extend
>>>>this to refer to "natural major" and "natural minor".
>>>>
>>>>The other aspect that applies to this discussion is that the names of
>>>>musical intervals don't simply refer to the span in semitones, they
>>>>refer to spelling. Thus the span of three semitones may be a minor
>>>>third (D-F) or an augmented second (D-E#). The latter would be the
>>>>correct notation in F# minor. The tritone (lit. three tones) can be an
>>>>augmented fourth or a diminished fifth depending on the spelling (C-F#
>>>>or C-Gb). The attribute "fourth" means the span is four letter names
>>>>as in C something to F something (or - which lines or spaces they
>>>>appear on). Of course when we just listen to intervals, we don't know
>>>>the spelling (though if the music is diatonic and not heavily
>>>>chromatic we can deduce it easily enough). One of the "rules" of
>>>>scales is that every letter name is represented. Thus in G# minor the
>>>>leading note (seventh step) is an F## ("double sharp").
>>>>
>>>>With all this stuff, it is a wonder sometimes we ever get around to
>>>>playing anything.
>>>>
>>>>Richard Dobson
>>>
>>> Then there are those of us who skip 99% of that stuff and just play by
>>> ear. More playing time that way. ;)
>>
>>Hear, Hear! I've been trying to learn some of those gospel-ish riffs
>>where they "roll" the notes, like in the introduction of Billy Preston's
>>"Nothing from Nothing":
>>
>> https://www.youtube.com/watch?v=hjzkG_QeJfA
>>
>>or in the Johnny River's remake of "Rockin' Pneumonia and the Boogie
>>Woogie Flu"
>>
>> https://www.youtube.com/watch?v=UvJ78hYI6wk
>>
>>but I'm not quite getting the technique.
>
> These days I spend more time on the guitar than keyboard. I've also
> been wanting to dig the saxophones back out, which have been sitting for
> more than a decade...argh, will probably have to learn everything all
> over again.
>
> Hobbies are good to have. I think I have too many.
Not to mention you'll probably have to take that Sax to the repair shop
to have all the leaky pads replaced (ask me how I know!)
When I took my old clarinet (two different species of wood and at least
two different plastics) in to be refurbished the repair guy went into
Instant Extreme Diplomatic Mode to explain to me that when he was done it
probably wouldn't be worth much more than the repair, and I should only
consider it if it had some sentimental value.
When I explained that when I was starting band in 5th grade it was a hand-
me-down from my mother, who played it in band in 5th grade, he just took
the thing and said "we'll have it ready for you in a week". (It's a
crappy clarinet. We thought we'd lost it recently so I bought some no-
name one at a pawn shop for $150, which is much better.)
--
Tim Wescott
Wescott Design Services
http://www.wescottdesign.com
Reply by Eric Jacobsen●June 16, 20152015-06-16
On Tue, 16 Jun 2015 11:41:03 -0400, Randy Yates
<yates@digitalsignallabs.com> wrote:
>eric.jacobsen@ieee.org (Eric Jacobsen) writes:
>
>> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
>> <richarddobson@blueyonder.co.uk> wrote:
>>
>>>On 16/06/2015 04:44, Randy Yates wrote:
>>>..
>>>>
>>>> I think it may be more proper to use the term "major scale" instead of
>>>> "diatonic scale" when speaking of intervals in the context of tuning
>>>> (e.g., fifths). There are other types of diatonic scales in which the
>>>> 5th term is not an interval of a "fifth" (in the major sense), for
>>>> example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>>
>>>> Yeah, yeah, everyone's an expert, right? :)
>>>>
>>>That is Locrian Mode - not exactly widely used in the West ("of
>>>theoretical interest only"). There are Indian ragas that are very
>>>similar, e.g. in not having a note a perfect fifth above the tonic
>>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>>tones; all the classical church modes are diatonic, e.g. Dorian mode
>>>has the sound when you play the white notes starting on D: E,F,G...D.
>>>
>>>A common shorthand term these days is "the natural scale" - the white
>>>notes on the piano, the lines and spaces on the staff. We also extend
>>>this to refer to "natural major" and "natural minor".
>>>
>>>The other aspect that applies to this discussion is that the names of
>>>musical intervals don't simply refer to the span in semitones, they
>>>refer to spelling. Thus the span of three semitones may be a minor third
>>>(D-F) or an augmented second (D-E#). The latter would be the correct
>>>notation in F# minor. The tritone (lit. three tones) can be an augmented
>>>fourth or a diminished fifth depending on the spelling (C-F# or C-Gb).
>>>The attribute "fourth" means the span is four letter names as in C
>>>something to F something (or - which lines or spaces they appear on).
>>>Of course when we just listen to intervals, we don't know the spelling
>>>(though if the music is diatonic and not heavily chromatic we can deduce
>>>it easily enough). One of the "rules" of scales is that every letter
>>>name is represented. Thus in G# minor the leading note (seventh step) is
>>>an F## ("double sharp").
>>>
>>>With all this stuff, it is a wonder sometimes we ever get around to
>>>playing anything.
>>>
>>>Richard Dobson
>>
>> Then there are those of us who skip 99% of that stuff and just play by
>> ear. More playing time that way. ;)
>
>Hear, Hear! I've been trying to learn some of those gospel-ish riffs
>where they "roll" the notes, like in the introduction of Billy Preston's
>"Nothing from Nothing":
>
> https://www.youtube.com/watch?v=hjzkG_QeJfA
>
>or in the Johnny River's remake of "Rockin' Pneumonia
>and the Boogie Woogie Flu"
>
> https://www.youtube.com/watch?v=UvJ78hYI6wk
>
>but I'm not quite getting the technique.
These days I spend more time on the guitar than keyboard. I've also
been wanting to dig the saxophones back out, which have been sitting
for more than a decade...argh, will probably have to learn everything
all over again.
Hobbies are good to have. I think I have too many.
Eric Jacobsen
Anchor Hill Communications
http://www.anchorhill.com
Reply by Randy Yates●June 16, 20152015-06-16
eric.jacobsen@ieee.org (Eric Jacobsen) writes:
> On Tue, 16 Jun 2015 10:20:53 +0100, Richard Dobson
> <richarddobson@blueyonder.co.uk> wrote:
>
>>On 16/06/2015 04:44, Randy Yates wrote:
>>..
>>>
>>> I think it may be more proper to use the term "major scale" instead of
>>> "diatonic scale" when speaking of intervals in the context of tuning
>>> (e.g., fifths). There are other types of diatonic scales in which the
>>> 5th term is not an interval of a "fifth" (in the major sense), for
>>> example B-C-D-E-F-G-A-B: B to F is not a "fifth".
>>>
>>> Yeah, yeah, everyone's an expert, right? :)
>>>
>>That is Locrian Mode - not exactly widely used in the West ("of
>>theoretical interest only"). There are Indian ragas that are very
>>similar, e.g. in not having a note a perfect fifth above the tonic
>>("Sa"). "Diatonic scale" simply means "two tones", i.e. semitones and
>>tones; all the classical church modes are diatonic, e.g. Dorian mode
>>has the sound when you play the white notes starting on D: E,F,G...D.
>>
>>A common shorthand term these days is "the natural scale" - the white
>>notes on the piano, the lines and spaces on the staff. We also extend
>>this to refer to "natural major" and "natural minor".
>>
>>The other aspect that applies to this discussion is that the names of
>>musical intervals don't simply refer to the span in semitones, they
>>refer to spelling. Thus the span of three semitones may be a minor third
>>(D-F) or an augmented second (D-E#). The latter would be the correct
>>notation in F# minor. The tritone (lit. three tones) can be an augmented
>>fourth or a diminished fifth depending on the spelling (C-F# or C-Gb).
>>The attribute "fourth" means the span is four letter names as in C
>>something to F something (or - which lines or spaces they appear on).
>>Of course when we just listen to intervals, we don't know the spelling
>>(though if the music is diatonic and not heavily chromatic we can deduce
>>it easily enough). One of the "rules" of scales is that every letter
>>name is represented. Thus in G# minor the leading note (seventh step) is
>>an F## ("double sharp").
>>
>>With all this stuff, it is a wonder sometimes we ever get around to
>>playing anything.
>>
>>Richard Dobson
>
> Then there are those of us who skip 99% of that stuff and just play by
> ear. More playing time that way. ;)