What is the problem with you guys ?
I am just saying that it is more convenient to illustrate music theory using musical staff .
The music and theory mmj is referring to has been played , recorded , and is being taught all over using universal musical notation :
Staff and chord symbols .
Why is that so hard to admit ?

 

there are def instances where i prefer and enjoy the staff yes that is true.
then there are other instances where the staff is the not best option available.
the staff is not good at showing structural development in the lydian chromatic concept.
because it is a unity(consonant) based system,( unlike traditional diatonic with Ionian and aeolian)
the staff gives the impression of playing music.
my examples are not examples of music being played.

they are examples of fundamental structure.
you take that structure and turn it into something to play or turn it into music riffs, songs, ideas, licks, melodies, harmony, chords, progressions, etc.
I am not going to repeat the same response abut the staff anymore( i mentioned the reasons a while back why it not a good choice in this context.)

 

OK MMJ not even able to admit a fact , and a tip , calling me a clown for that .
I ama talking about the audio examples related to the piano roll, not your song .
Any musician that listen to that can hear it .
Any normal person can hear it .
I am not talking about the speakers , just about close voicings in the low register !
We are far from choosing voicings and contrapuntal melodies .Just low interval limits .
Raise it up an octave or two that's it .
Why is this so hard to admit for you ?

 

the clown part has to do with you are not thinking about or talking about the very specific context
which this thread is about.
you are going into other contexts that just have no connection in anyway.

if F1 is "too low" for you( a single low f1 with ALL other notes in higher 2 octave ) , then i am sorry that you cannot enjoy any music made in the last 60 years lol.

those ranges are of the standard tuned electric guitar and electric bass.
elvis played in those ranges every song on the radio is in those ranges. if you actually struggling that is a issue surrounding your personal hearing not my examples.
you are more than welcome to do them a octave higher for yourself (the examples visual and audio are there for you to re-create what is being discussed so that you can participate at home my friend.)please do the examples in a higher octave to feel more comfortable with it .
and remember these are structural examples.

this is the last time i am repeating about the lower octave ranges.
2 octave is all electric guitar
1 octave is standard 4 and 5 string bass used last 10 0years with no issues of people hearing it.

the octaves i chose are the ones everyone uses everyday and zero people struggle to hear down there even on laptop speakers.

well the speakers are a determining factor in whether you can make out lower octaves, next
you are calling the octave "low register" that is the standard tuned electric guitar range. which nobody in 70 years has had difficulty hearing in that range.

the zero and -1 octave are the low range where it is difficult to distinguish.
I have not and am not using that range for chords, I am using the range everyone has been and does use.
the 2 octave of most instruments and the 1 octave for the single low F note( every standard tuned bass guitar hits this F1 easily , all the songs on the radio go lower than F1.
you are nit picking about nothing important and refusing to talk about that which is significant in this information being presented. (trolling)

 

Last edited: May 15, 2018

Maybe we are not talking about the same file or something is wrong ...
I hear that :


To you ears it is crystal clear and i am a clown , and for other a troll ...

 

yes, you have chosen one of the most dissonant KEY options availble there. good observation.
take a peek
https://fthmb.tqn.com/WuDPFqryww1lm...Tarna-clownshoes-56a6a4ee3df78cf7728f8da7.jpg
there is a specific context which that audio is presented.

that context is taking the standard progression of Flydian playing the chords inside of it structurally.(such that each chord resolves back to rest on Fmaj7)while all over top a low F1 note.


next in order to hear comparision we are travelling through the 8 vertical lydian KEYS in which we only alter the notes that change, such that the listener can alternate between the original lydian KEY(audio example) and the new altered one(audio example) in order to hear how those changed notes(chords) sound , and what structural flavor they give .

if you can't wrap your head around that, then i am truly sorry.

If you cannot fathom those details, cannot hear in 1 and 2 octave ranges well enough to have a audio illustration helpful
then I throw my hands up in the air to you fine sir.
I can only do what I can do, you are welcome like i said before to
do the OBVIOUS

(take out your casio and play the same thing octave higher, or open your daw and put it in octave higher.)
I am not responsible to do everything for you and tie your clown shoes also.
don't you think you can deal with a tiny amount of responsibly to raise to octave YOU are comfortable with?
Is it enough that I am sharing this information demonstrably ?
or do i have to tie your clown tie and wash your rainbow car, wax your multicolored clown shoes for you as well?

this information is being presented for you(the person reading this) to take and use for what you choose to do with it.
if you have no desire to do any of that, then why the heck are you here?
I am not going to respond to anything from you other than serious points form now on.

( p.s. I am not calling you a clown, I am making observation that you have taken on the role of a clown through your own actions of thought and choices.)

the amount of time you spent making these comments you could have opened your daw and punched in the piano roll any octave range YOU want!
for this reason I am not responding to you unless you have something serous to contend with .

 

Last edited: May 15, 2018

What is important is to establish a connection between theory , harmony and real world .
Otherwise you are just spreading confusion .
You and others had an opportunity to hear an advice , consider it trollin .
But one thing :
If you feel that it sounds ok , keep with it .

An audio example of advanced jazz theory should sound decent even if they are examples of fundamental structures .

I resume :
Bad sounding examples of some advanced jazz theory talking about the lydian chromatic concept , illustrated with piano roll ...
And you call me a clown ...
Bye ...

 

What do you mean ?
I don't get it ...
this is what you uploaded , your audio examples ."lydianprog2.flac"
What do you mean ?

 

Just wish all the staff could listen to your audio examples ...

So everyone that makes me the horrible guy have been listening to the audio examples and find them inspiring ?
Then guys i tell you one thing :
Be honest it will save you from being ridiculous .
I am just pointing out facts .

 

yes you picked out dissonant options example and then you said it was dissonant. clap clap

 

which is why I have demonstrated each sentence that I have spoken. to back up what I say.

how does,

apply to yourself?

wrong.
music contains dissonance and tension as well, those have to be demonstrated such that the user can decide when to put tension in in real world applications.

the way you behave makes me feel embarrassment for you ( if i picture myself acting identically in everyway, I would observe that i was taking on the role of a fukking clown.)

 

That you are not competant is one thing but the worst is this absolute bad faith .
being dissonnant is one thing .
Sounding bad is another thing
A 13#9 chord is dissonant for ex , but sounds good except if close voiced in the low register .
Dissonance have nothing to do with that .A lots of other audio examples of this thread are sounding muddy .
Instead of admitting this fact (It sounds very bad) you defend yourself .
And you feel embarrased for me ? Serious ?
Beside your devoted fans everybody would agree that the examples sound very bad .Don't feel embarrased for me , just
tell your ego to stay away , think about music , all the musicians that would say "yes this sounds bad" , learn from it and
next time post something decent , that's so simple .

 

Audio examples sounding awful because of the range and spacement of the chords in the low register an unrelated issue ?
Explain maybe ...

 

If it is not obvious,

When dealing with the 8 Vertical Lydian KEYS
as you begin to add in the chromatic notes you get more tension.
you are now getting involved with chords and melodies which have more dissonance and have to be used tastefully.
there are many tense chords and using them in a way where they resolve to a consonant chord is how to create powerfully emotional music.

the system of the 8 vertical Lydian keys allows you to have a larger construct where you can easily tap into any flavor no matter how consonant or dissonant you are seeking.
every chord which exists is accessible to you from a larger viewpoint of relationships.


sure there are keys and progressions and chords and notes you can CHOOSE to never use if you want! because this information is always going to exist for you to use in a way you WANT to use it ( or ignore it)
BUT
i suggest to be careful in thinking something your ears have not expected to or gotten used to is automatically bad, because with ear training things sound way different than before ( when it sounded all blurry)

a long time ago the way i heard music was i could not make out the individual notes in a 7th chord and above it was just 1 blurry sound to me.
as time went on and I did ear training for years everyday.
now i can hear every note even in the motherchord

make out every note
so to me even extreme dissonance
nowadays just is its own sound different from consonance.
for me to hear music which stays on the 1 chord the whole time is very boring and has no feeling, there has to be dissonance then resolving to consonance, for me to feel the music.
that resolution takes on many forms

 

Last edited: May 15, 2018

The last SoS issue I read before unsuscribing was about complex jazz brass arrangements. And it was full of staff AND piano rolls.
And even if I can read staffes in various keys, I have to admit the piano roll provides an extra global vision of a partition. Especially for rythm IMO.

But hey, nice try, troll.

 

First true thing i read since a while .
You are right ...
Bye , enjoy the advanced jazz theory and its sounds !

 

You must be right , sound on sound and piano rolls are the right way to appreciate brass arrangements .
I suggest that you talk to Mr Bob Mintzer about that , he will be delighted .
I guess you can instantly read chords on piano rolls , for sure you know what you are talking about , obvious .

 

Don't feel disappointed my reverse friend. I'm with you but let this thread flow. Music theory is very ambiguous in its nature when lots of ideas combined together and the harmony analyzer has to select one or some methods randomly for dealing with them especially in Jazz.

This randomness exists in the teaching processes too. There's no approved one.

 

This topic being "Advanced Jazz Theory"

Is there anything similar as "Introduction" or "Beginner" / "Beginning" Jazz Theory ??

Thanks.

 

hello, my friend YEs I am going to make a thread for

beginning Jazz theory made easy ( for any genre too!....)

it is coming soon!