Nope. It's "Coito ergo cum."

 

A little fun facts about the "master" chord the Diminished 7th chord!

Lets first take B dim7
B D F G#

if we slide any one note down a semitone we get a Dominant 7 th chord

B D F G#

say G# to G
B D F G (G7 from C major KEY

say

BD F G#
A# D F G# (A#7 from D# major KEY

cool, but what happens if we slide a note up a halfstep?

G# B D F

A B D F = Bmin7flat5 or Dmin6 from C major KEY

B D F G#
C D F G# = Dmin7flat5 or Fmin6 from D# major KEY


pretty sweet,
what happens if we raise the first 2 notes a halfstep?


B D F G#

C D# F G# (Fmin7 or G#maj6 from G# major KEY

G# B D F
move first 2 notes UP
A C D F ( Dmin7 or Fmaj6
----
B D F G#
move first 2 notes UP
C D# F G# (Fmin7 or G#maj6
--
D F G# B
move first 2 notes UP
D# F# G# B (G#min7 or Bmaj6
--
F G# B D
move first 2 notes UP
F# A B D (Bmin7 or Dmaj6
--


damn! what happens we we slide the first 2 notes down though by a half-step?


Move first 2 notes Down
G# B D F
G A# D F (Gmin7 or A# maj6
--
B D F G#
Move first 2 notes DOWN

A# C# F G# (A#min7 or C#maj6
--
D F G# B
move first 2 notes DOWN
C# E G# B (C#min7 or E maj6
--
F G# B D
move first 2 notes down
E G B D (Emin7 or Gmaj6
--

NOW you can see why the Dim7 is the "master" chord? haha
Lets see some more!

take G# B D F

if we think f the G7 (from C major KEY)

what is the G#?

G B D F A C E

G#=flat 9

lets include it in C major KEY (C major Bebop scale)or Cmaj6 dim

C D E F G G# A B

what are your modes now?

CEGA (C6-Amin7
DFG#B (dim7
EGAC (C6-Amin7
FG#BD (dim7
GACE (C6 -Amin7
G#BDF (dim7
ACEG (C6-Amin7
BDFG# (Dim7

so that means when playing this scale any melody can be a chord change as well.

take a CEGA chord

now do a button hook around it (AKA enclousure)

D B (CEGA)

now expand each note to be a chord

DFG#B ,BDFG#, , CEGA ,


there are a million things you can do now with it!

keep watching these videos in the youtube sidebar!

 

Last edited: Jul 20, 2018

... define 'here'

 

@MMJ2017

It's one thing knowing this stuff, but another entirely being able not only to recall it the way you do, but to explain it so that a complete beginner could learn to play the 'Rach 3' in 3 hours!

OK maybe not the rach 3, cos you've gotta have almost three hands to play that!!!!!!!!!!

 

My definition of 'here' is 'not all there! ' Wait no, that's not right!

 

Whot, Wtf... lol ... LMAO ... I can't let you guys alone, can I?

Remember when I told you this will derail to humor in 5 min?

 

Im here when I need a haircut

 

Yes I almost didn't vote given the way it is worded. Still there are some choices which are partially true so I did vote. It will not reflect the real reasons I am here because they were not included. I am curious why the emphasis on English and non-English speaking. It seems a little passive aggressive. Is the poll having to do with English speaking, or music making? Seems the two are hopelessly entwined in the choices.

 

Me too! Had to settle for audio instead...

 

Errr... but of course the most important is the Language of Music
As for why i am here

 

I think I got it: ... I'm 'here' to help!

 

Both your posts in the thread are pretty interesting, especially about 7th chord(as I know generally it's "master chord" bc it consitst of all the weak degrees of scale), thx. Maybe you have this info in PDF?

 

metaller
is working on that fine sir. you can PM em about it. thanks

just a note about the diminished 7th chord it is the "master" chord because by altering one or two of its notes in either direction you get every other chord type , this shows you from any position on a instrument how to get to all other related keys without changing location where your at. very significant fine sir. {every location your hands are at on the instrument all the keys are available without moving anywhere}
next you can see the KEY collections ( means which keys are directly related)

for example
C major KEY
D# major KEY
F# major KEY
A major KEY

are brothers and sisters ( related) {its called the C diminished7 KEY collection)

every substitution for C major KEY (for example)
are contained in these other keys
(in the below image you can see the iimin7, V7 of each KEY resolving to Cmajor7)


( as well as keys next to each other on the circle of fifths)meaning the other substitutions for C major KEY are in F major KEY and G major KEY ( besides the dim7 KEY collection and the C augmented KEY collection)

combining these 2 give you all 12 KEYS accessible in any context at any moment YOU choose!



Here is also a resource by a different gentleman which covers it albeit maybe difficult at first to follow
http://www.javierarau.com/augmented-scale-theory/

the C diminished 7 KEY collection
combined with the C augmented KEY collection






C diminished 7 KEY collection
---------------
C major KEY
D# major KEY
F# major KEY
A major KEY




C augmented KEY collection
----------------------------
C major KEY
E major KEY
G# major KEY


the pathways ( all these keys related to C major KEY


Next doing the same key collections for C major , E major and g# major



this shows all the connections

next finally integrating the connection between all 12 keys



above you are able to see when you center on C major KEY
and combine 2 key collections

C diminished 7 KEY collection
---------------
C major KEY
D# major KEY
F# major KEY
A major KEY




C augmented KEY collection
----------------------------
C major KEY
E major KEY
G# major KEY



Next in the image now you are able to shift to any of the 12 keys as the new CENTER and from that new point
see the 2 KEY collections ( diminished 7 KEY collection) and (Augmented KEY Collection) connected to the new chosen KEY.

Lastly, once you have gotten used to making each of the 12 KEYS the center of attention using the KEY collections

you can see the larger framework connection the Chromatic KEY collection

this is the door opening every possibility to the 12 tone et system
once you get it down you can do anything and everything possible any particular moment you choose. any line melody riff or section you may be working on you can have every possibility in your mind which exists , so that you can make the choice which best describes your inner expression and experience.
you will now be fluent in the language of music.

 

Last edited: Jul 21, 2018

It looks a little bit satanic, but usful. Thx MMJ.

 

Not to post too much at once but i want to share an easy way to assemble any major key

We start with chromatic scale
C C# D D# E F F# G G# A A# B

Second we unzip into 2 wholetone scales (called chart 1)
C D E F# G# A#
C# D# F G A B

Third we assemble the C major KEY

we take the first 3 notes of the top wholetone scale
and we take the 4 notes in bottom right of the second whole tone scale.

so CDE from top
and FGAB from botton

Fourth step , we need to think of the wholetone scale like a conveyor belt

for example. lets assemble the D major KEY

we follow same as before just one tick to the right

so D E F# from top and G A B C# from bottom

see how when we go to select the 4 consecutive notes in the bottom whetstone scale
its like a conveyor belt.

lets try another one
E major KEY

so same as C major but 2 ticks to the right

E F# G# from top and A B C# D# from the bottom.

Fifth step)lets say we want to assemble C# major KEY

now what we do is take our 2 wholetone scales listed from before
C D E F# G# A#
C# D# F G A B

and make a new chart every note a semitone higher ( called chart 2)

C# D# F G A B
D E F# G# A# C

now follow original rule

so C# D# F from top and F# G# A# C from bottom.

lets say we want to assemble now the A major KEY

we follow original rule BUT 2 ticks to the left

so
A B C# from top and D E F# G# from bottom.

In conclusion

1. we write our chromatic scale
2. we unzip into 2 whole tone scales.( chart 1)
3. we follow the formula of C major KEY
which is ( first 3 notes of top wholetone scale, and last 4 bottom right hand notes of 2nd whole tone scale)
4. we look at where the note of the KEY we want to construct is located, we think like conveyor belt
5. we construct the 2nd chart by raising each note a semitone from the first chart.

This simple method consisting of a couple lines of notebook paper gives us all our 12 keys at any time with the notes ending up in proper order.

 

haha yes true, ( i guess any math or geometry CAN be considered satanic {seeking knowledge} lol

wanting to have the knowledge of music which god has....... cast you demon! lol



the "claimed" god in man form was not intelligent enough to distract a couple ignorant roman guards long enough to run down an alley way? ( remember NO finger prints or ID cards back then folks!)


the dictatorship of heaven volume I available for only $12.95 call now!

thank GOD , there is no such thing as gods, souls or afterlives.

{instead people wrote about archetypes , AKA religion is the first superheroes and villains.}

( and we value equality and democracy now....... whew!)

just for fun real quick, read how Judaism and Christianity was invented by stealing from Zoroastrianism! great fun folks!
http://www.bbc.com/culture/story/20170406-this-obscure-religion-shaped-the-west

for entertainment value, let LOGICALLY refute the classic theist god by his own purposed characteristics ready? go.

"Whereas most monotheists agree that God is, at minimum, all-knowing, all-powerful, and completely good,["

if god is "all knowing" how can he have free will to make a choice, if he knows what he will choose then it would be like a movie playing that he seen before there is no possibility for him to make choices.( IE consciousness)

if god is all powerful why would he make mistakes such as not including "thou shall not own a human being", forgetting to mention the microscopic world as cause of disease,
and saying women are worth less than men?
p.s. why did he put the vagina and the butthole a few millimeters away from each other?

if god is completely good, how could evil exist?
how could hell exist?

HOW COULD THIS GOD CREATE A WORLD WHERE EVERY LIVING BEING MUST MURDER AND EAT OTHER LIVING BEINGS JUST TO CONTINUE BEING ALIVE?

 

Last edited: Jul 21, 2018

My avatars is the answer

 

"Practice".