ski Posted May 28, 2012 Share Posted May 28, 2012 Barbara, as in Streisand?!!!!?!!!?!?!?!?! Quote Link to comment Share on other sites More sharing options...
shivermetimbers Posted May 28, 2012 Share Posted May 28, 2012 ... Or Bieber. http://cdn01.dayviews.com/bloglovin/591d1e0f6fe585c377f6df647ecf5be9cf897908/a/aHR0cCUzQSUyRiUyRmltYWdlMy5leGFtaW5lci5jb20lMkZpbWFnZXMlMkZibG9nJTJGRVhJRDIyMTUyJTJGaW1hZ2VzJTJGcmVzaXplZF9KdXN0aW5fQmllYmVyX1Zpc2l0c19OaW50ZW5kb19Xb3JsZF9TdG9yZV83RERGMlIxWGVuc2wuanBn Quote Link to comment Share on other sites More sharing options...
Eric Cardenas Posted May 28, 2012 Share Posted May 28, 2012 Barbara, as in Streisand?!!!!?!!!?!?!?!?! Send in the clowns... Quote Link to comment Share on other sites More sharing options...
ski Posted May 28, 2012 Share Posted May 28, 2012 Eric, Don't bother, they're here. Quote Link to comment Share on other sites More sharing options...
Eric Cardenas Posted May 28, 2012 Share Posted May 28, 2012 Eric, Don't bother, they're here. It Quote Link to comment Share on other sites More sharing options...
Beer Moth Posted May 31, 2012 Share Posted May 31, 2012 Bollacks! Quote Link to comment Share on other sites More sharing options...
Rev. Juda Sleaze Posted May 31, 2012 Share Posted May 31, 2012 Ah, at last, the voice of reason. Quote Link to comment Share on other sites More sharing options...
Beer Moth Posted May 31, 2012 Share Posted May 31, 2012 Where's the f$@%ing 'Like' button? Quote Link to comment Share on other sites More sharing options...
David Nahmani Posted May 31, 2012 Share Posted May 31, 2012 Bollacks! HE'S BACK!!! FINALLY! Good to see you around Beer Moth. Quote Link to comment Share on other sites More sharing options...
Beer Moth Posted May 31, 2012 Share Posted May 31, 2012 Ooh! We have automatic %#$@iing assortments now! I used to hate having to type those in.... xxx Hugs and s#!+... Quote Link to comment Share on other sites More sharing options...
aleos Posted May 31, 2012 Share Posted May 31, 2012 "Relative" is a word used to describe keys, not scales. The relative key of C Major is A minor. David, you are the king on these forums, so please excuse me when I point out a few things. Relative is absolutely a word used to describe scales. The relative minor scale to A major is F#. It follows the same formula as key relationships, yes, but it is definitely a term used to describe scales on their own as well. In music where keys start to get blurred, (I'm not talking atonal music, but more along the lines of jazz, rock and even folk musics,) if you want to analyse or improvise, you must be aware of the scalar progression. The chord scale relationship if you will. Thinking in terms of "keys"' impies traditional methods of key establishment, which is something that is going the way of the dinosaur in much music. There's no such thing as the key of A minor melodic or A minor harmonic. Those are scales, not keys. Scales can be played over keys. One can choose to play just about any A minor scale when in the key of A minor. While this is technically true, there is no "key" of D dorian or G Symmetrical diminished. Tell that to the player who tries to improvise over Miles Davis' "So What", or who tries to analyse some of Bartok's music. Infact, I have written a whole piece with no chromatic alterations, using the notes a-b-c-d-e-f-g#-a. What key is it in? It's in A harmonic minor. Absolutely. It's not in A minor. And while I understand that some people call this modal (i used to myself), I just believe it is easier to look at the piece, or section of a piece as deriving from a certain scale. And then, however clumsy some people feel it is, designate that the key. Another good example is much of John Zorn's music for his Masada project. These pieces often composed using "alternative" scales, for instance harmonic major. (major scale with flat 6). The harmonic content and the melody reside in this scale. It is much easier to say it is in the key of Bb harmonic major, than describing it as "in the key of Bb major with a permanent chromatic alteration to the melody and harmony. The lowered 6." Does that make sense? Quote Link to comment Share on other sites More sharing options...
ski Posted May 31, 2012 Share Posted May 31, 2012 Ooh! We have automatic %#$@iing assortments now! I used to hate having to type those in.... xxx Hugs and s#!+... An excellent way to start off his comebackance (sorta like "comeuppance"). Quote Link to comment Share on other sites More sharing options...
David Robinson Posted June 2, 2012 Share Posted June 2, 2012 "Chromatic passing tones" is the key here (no pun intended). There are thousands of examples of compositions from the classical era where notes "outside" the key center are used in melody. There's really nothing unusual at all about this. The idea that Beethoven used a note outside the basic scale associated with a particular key or chord (in this case, G major) infers that "all notes in a passage have to conform to that key or chord". Well, depending on the type of music you're talking about, this may or may not be true. In Beethoven's case, and that of other classical composers, it couldn't be further from the truth. (And the music of many Baroque composers is filled with wonderful chromaticisms that make Beethoven's passing tones seem tame by comparison.) The author of that article provided a link to the score. Since he mentioned bar 4, let's look at that... [attachment=0]Picture 24.png[/attachment] On the downbeat, the orchestra has established G major. If it weren't for the B's in the first violins and woodwinds, the orchestra would be playing the equivalent of a G "power chord" (octaves and fifth). The melody note on the downbeat is G. From there, his melody goes up to G# and further higher to A before descending down F, D, C, to B on the downbeat of the next measure. It's a playful yet lyrical melodic passage that accommodates a harmonic transition from G major to G7 (the chord established on the downbeat of measure 5). For this kind of analysis it's really important to read the actual score, but it's also equally important to understand that just because a key is established that the melody notes have to conform to any particular notes, not even those traditionally associated with the key. the note in question is the lower auxiliary of A. doesn't matter re: tonality. the F natural after it is simply to strengthen the downward phrasing. the reason for the big G "pwr chd" is that too many "B"s give too much info. same in metal. and, as i hope we all know, it only take one 3rd of either type to sweeten or limit the possibilities. the less info the better harmonically, in this scenario. hi ski, how they hangin'. j. Quote Link to comment Share on other sites More sharing options...
ski Posted June 2, 2012 Share Posted June 2, 2012 hi ski, how they hangin'. Today? A little to the left. Good to see you around. Hope all's well! Quote Link to comment Share on other sites More sharing options...
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