Music Theory (#229)
in [Ruby]
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From: Brian Candler on 1 Mar 2010 16:02 Evan Hanson wrote: > Actually, one of the toughest parts > about > this problem was deciding what degrees of the chord are implied by a > given > symbol. I'm a jazz musician, and we just play whatever the hell we want, > so I > wasn't sure on the specifics of a few of them. I learned classical at school, so had to unlearn a load of stuff when trying to play jazz. OUT: Cmajor => C E G IN: Cmajor => E B or B E (not C: that's the bass player's job) (not G: perfect 5th just reinforces the root) -- Posted via http://www.ruby-forum.com/.
From: Evan Hanson on 1 Mar 2010 19:36 Yeah, 3 & 7 decide the nature of the chord. Ditch everything but that, then add extensions (at least for the instruments that carry the harmony). You took a better musical route; I learned jazz first so my theory is good but my knowledge of the traditional ruleset is a bit lacking. Incidentally, I just tested my code on my other machine and got a "warning: parenthesize argument(s) for future version"... I hope there's no seachange in syntax on the way? I'm assuming this is just for ambiguities? On Mon, Mar 1, 2010 at 3:02 PM, Brian Candler <b.candler(a)pobox.com> wrote: > Evan Hanson wrote: >> Actually, one of the toughest parts >> about >> this problem was deciding what degrees of the chord are implied by a >> given >> symbol. I'm a jazz musician, and we just play whatever the hell we want, >> so I >> wasn't sure on the specifics of a few of them. > > I learned classical at school, so had to unlearn a load of stuff when > trying to play jazz. > > OUT: > Cmajor => C E G > > IN: > Cmajor => E B or B E > (not C: that's the bass player's job) > (not G: perfect 5th just reinforces the root) > -- > Posted via http://www.ruby-forum.com/. > >
From: Brian Candler on 2 Mar 2010 04:04 Evan Hanson wrote: > Incidentally, I just tested my code on my other machine and got a > "warning: parenthesize argument(s) for future version"... I hope > there's no seachange in syntax on the way? I'm assuming this is just > for ambiguities? The message suggests that the parsing might change. I suspect it's unlikely, but it's safer to add the parentheses as it suggests. There are all sorts of ambiguities arising from poetry mode. For example, puts (1-2).abs and puts(1-2).abs are parsed differently. -- Posted via http://www.ruby-forum.com/.
From: Rick DeNatale on 2 Mar 2010 07:59 On Mon, Mar 1, 2010 at 4:02 PM, Brian Candler <b.candler(a)pobox.com> wrote: > Evan Hanson wrote: >> Actually, one of the toughest parts >> about >> this problem was deciding what degrees of the chord are implied by a >> given >> symbol. I'm a jazz musician, and we just play whatever the hell we want, >> so I >> wasn't sure on the specifics of a few of them. > > I learned classical at school, so had to unlearn a load of stuff when > trying to play jazz. > > OUT: > Cmajor => C E G > > IN: > Cmajor => E B or B E > (not C: that's the bass player's job) > (not G: perfect 5th just reinforces the root) So you're saying that to a Jazz player Cmajor has a note from Cmajor7 ? -- Rick DeNatale Blog: http://talklikeaduck.denhaven2.com/ Twitter: http://twitter.com/RickDeNatale WWR: http://www.workingwithrails.com/person/9021-rick-denatale LinkedIn: http://www.linkedin.com/in/rickdenatale
From: Brian Candler on 2 Mar 2010 08:49
Rick Denatale wrote: > So you're saying that to a Jazz player Cmajor has a note from Cmajor7 ? Yes. I had to unlearn a lot of stuff :-) As Evan said, it's the 3rd and 7th which define the nature of the chord, so there are four basic shells (minor or major 3rd, together with minor or major 7th). You can put them either way up, which allows for smooth progressions [1] And apart from a couple of rules [2], you can add any other notes of the scale to make a fuller chord. The fact that harmony comes from scales and not triads was a big revelation to me. Another was the existence of lots of other scales like the Lydian. Apologies if this is going way off-topic :-) Cheers, Brian. [1] e.g. Dm -> G7 -> C could be (F+C), (F+B), (E+B) [2] Don't play a perfect 4th with a major 3rd - it jars. And keep either the 3rd or 7th towards the bottom of the voicing. -- Posted via http://www.ruby-forum.com/. |