13 Jul
2012
13 Jul
'12
6:25 p.m.
Am 12.07.2012 um 17:42 schrieb Rustom Mody <rustompmody(a)gmail.com>om>:
On Tue, Jul 3, 2012 at 12:10 PM, Ralf Mardorf <ralf.mardorf(a)alice-dsl.net
One which automatically transposes C to G =). Or, alternatively, that
They are different pointers to the same acoustic phenomenon. Which can
be useful to have in one context and confusing in another one.
wrote:
On Tue, 2012-07-03 at 10:38 +0800,
Oon-Ee Ng wrote:
> On Tue, Jul 3, 2012 at 8:57 AM, Ralf Mardorf <ralf.mardorf(a)alice-dsl.net
wrote:
> > On Mon, 2012-07-02 at
20:41 -0400, Ricardus Vincente wrote:
> >> On Mon, 2012-07-02 at 17:34 -0700, Bob van der Poel wrote:
> >>
> >>
> >> > Opps ... sometimes I do type faster than my brain works. Of
course I
> meant to say that c e g would be G Major :)
BZZZZZZZZZZZZZZZZZZZZZZZZZZZT!
Well, another chord we name it different here ;), but don't worry,
everybody should understand what app you wish to get.
recognizes a Gsus.
Serious, is there a command line tool or a GUI based tool that
"calculates" cords?
OT: At least I should fire up Qtractor now, but I'm still short in
time.
FWIW I don't care, I only know that the OP is mistaken, because I
teach
music and the pupils wished to know about theory. For "God's sake", in
Germany we also have a "theory of harmony" regarding to it's
functionality, e.g. c d# f# a is a symmetrical cord. Nobody cares
about
it's name, but we care a lot about the emotions people listening to
this
cord.
Computers exist because of something called the 'Digital
abstraction': How to make a complex messy 'real' thing like voltage
into a neat-n-clean 'logical' 0-or-1.
See http://6004.csail.mit.edu/Fall01/handouts/L02-1up.pdf
Musical theory is likewise: Where to put your hands on a guitar or
violin or piano is very different. Musical theory gives an abstract
frame where something essential common to these differences is
distilled out.
The question is not so much whether that abstraction is useful so
much as is it faithful.
I recently got into an argument (on the python list so more OT there
than here :-) ) about whether a B# is the same as C. If we allow that they may not always be the same then
we have a case
where the theory-of-musical-harmony (may be) breaking.
Reminds me of Heisenbergs observation about speed and/or location of
particles.
Every question I ask about the world hides a question about my
thinking. So for me there's not much wrong with theories that help me
structure my thoughts about one phenomenon but fail on a different
one. The only value they can have is that of their application.
OTOH: for me most theoretical models are dangerous if not useless
without minimal knowledge of their history and how they used to be
applied. And that's quite a lot to learn from my perspective, so
wanting to discard them altogether looks like an obvious idea to have.
I am nor sure if that would work though. IMO it takes a whole lot of
knowledge to forget them, as they usually describe much of the
listeners expectations within an individual style. As difficult
listening without expectations may be, playing that way seems next to
impossible for me.
It's the listening ear that turns sound into music.
That's my perspective. Feel free to find it as weird as I do.
Since I'm a guitarist most of the chords I prefer are named insane.
Jimi Hendrix: Eb(no 3rd), Aadd9 and the sharp ninth, E7#9. Set to the
situational context I simply name "E7#9" "E major", so a simple
blues
gets "Voodoo Chile"-quality.
However, as long as we don't try to get a certificate from an academy,
the names of cords are completely irrelevant.
It's bullshit, nobody needs to know. For a gig we need to know what
emotion should be transmitted, so we only need scripts that remind
us to
the basics, such as C or C-. If the cord is a 7, major or minor etc.
shouldn't matter.
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