I see this thread is still going and someone mentioned how pointless and simple drum and bass is so let's celebrate with some DnB shall we:

 

I have to admit, it is unusual to see one person in the same thread who is not the thread author post 5-6 posts in a row.
Most people would compound or edit them into one or two.
Very unusual.

Page 8

 

Last edited by a moderator: Nov 30, 2021

I apologize if the thread is not clean and tidy.
I ask for your patience please .
( i really do appreciate everyone participating)

I am working on material with files for the thread
To demonstrate the information with examples and breaking things down.

Thank you .

I am going to use the request of
" happy birthday "
To demonstrate the information of the thread .
Please look at this video
While I work on the material

( ill post some links that have a component of the information where others already made because it ties into what I'm making in terms of the information)

 

Last edited: Nov 30, 2021

"Musicologists often tend to consider themselves superior to 'mere' performers. . . .and have an unbearable snob quotient." Michael Rabin

Spoiler

I'm sorry. It's the reality, and nothing can be done. You have no choice and have to endure.

 

@MMJ2017

My promise: Just explain me what's going on at the following examples and I'll be gone, forever...

 

@McGraw FOSTER if you ever manage to speak with a modicum of knowledge this entire site would fall over.
You have described less than 5% of the musical world, used Wikipaedia which anyone can add to and is laughed at in FACT circles, and quoted a scientist, not a musician. Quit while you are behind and let the OP talk.

 

Last edited by a moderator: Dec 1, 2021

Your post confirms the accuracy of post #84.

 

As far as I know, performers have always had problems with musicologists.

My laughter was that there is nothing that could be done to solve the mentioned problem.

Michael Rabin is a violinist (one of the most talented and tragic violin virtuosi of his generation). You mistook him for Michael O. Rabin. The names of both of them are almost the same.

 

This is the second time I've seen you bring up
The term [ musicology] .

Do you know what it means ?
Lol

There has been zero to do with musicology
This entire time .
( this thread is about pragmatism as a composer or writer or musician themselves )

Point at the specific thing you think musicology is relevant to in this context lol



Musicology is a valuable thing .
( just totally different situation)

 

Last edited: Dec 1, 2021

Based on ?

 

This stems from your qualifications? I am both. A good teacher makes the complex no more difficult than it needs to be.
Stop Trolling FOSTER - reported - This will be your 10th banning coming next? I think they will I.P ban you next time if they are smarter.

Which part of Wikipaedia not acceptable in an academic circle (musicologists) or musical performers do you not understand? You split the link if you click on the first name it goes to a different Wiki to the surname - EPIC link fail. EDIT - I can see you've fixed that to save face.
Pick an approved journal, academic site or encyclopaedia that is not dismissed because even an ignorant can add to it?
You are becoming an ignorant TROLL.

 

Last edited by a moderator: Dec 1, 2021

I just want to address an important issue about the significance of a chord symbol .
( in the context of the 7 main unique type of chord )

When you have a chord symbol
Ex
Dmin7 DFAC

That is a package of information.

It represents a " note collection " .

It represents the blueprint for melodies , harmonies , chord voicings, counter point etc.

But , just like in spoken language
There is something very valuable here because
Anything you ever create for a specific chord type is reusable in any situation.

So let's say you had the chord symbol

Dminor7 ( that means DFAC)

If you invented a melody from it
You can now use it on ANY other minor 7
You can break it in half and combine 2 half of two
Minor7 melodies you made before

You start to build a vocabulary up

But , let's look a bit closer at what a chord symbol
Information means .

Dmin7 DFAC
You have 4 inversions
DFAC
FACD ( Fmaj6)
ACDF
CDFA

Then you have drop2 ,drop3,drop2&4
Voicings

Ex drop 2 means drop 2nd highest voice by octave

So Dmin7 drop 2 means

DFAC becomes ADFC
FACD becomes CFAD
ACDF becomes DACF
CDFA becomes FCDA

You now have 4 voicings per octave that span the entire instrument range where the low note is bass and high note is melody

Dmin7 drop 2
ADFC
CFAD
DACF
FCDA
ADFC
CFAD
DACF
FCDA
ADFC
CFAD
DACF

this is just drop 2 ,
you have drop 3 and drop 2& 4 also

( but thats only the introduction because you can combine parts of them to make your own voicings per octave )

That demonstrates how harmony comes out a chord symbol .

melody comes from a chord symbol
by using the arpeggios or chord tones on strong beats and adding embellishment or decorations on weak beats.

so you have all these possibilities that is what a chord symbol represents .

But the thing is anything you create for that Dminor7
can be used for any other minor7 as well.

next, every minor 7 is also a major 6 chord

Dmin7 DFAC is also Fmaj6 ( F6) FACD

So anything you created for Dmin7 can be used for any minor type chord but also any major type chord as well.

it keeps expanding further when you keep learning more.

So, by the time you learn that
All 7 unique types of chord can be used for any function , that means anything you already made before can be used in any context.

( just like how we learn spoken language and can create new sentences over and over )

I only explained a tiny bit about this .

Its important to listen to those haply birthday videos and you can actually hear all the things made from happy birthday

( because your ear is so familiar with the basic melody of happy birthday)

So that you can easy hear how the infinite possibilities come from the harmonic blueprint of the music theory.

( what we mean by music theory in this context though , is the actual blueprint of happy birthday how it works and why . By music theory in this situation we mean the way the music works where all possibilities come from )

 

Is that so? Let's put your chosen minor triad to the test then...

Do the same for:

- Dm 6 [ D F A B ]
- DmM7 [ D F A C# ]
- Dm add9 [ D F A E ]
- Dm add11 [ D F A G ]
- Dm add b13 [ D F A Bb ]

Please explain the resulting drop voicings...

 

Last edited by a moderator: Dec 1, 2021

First triad is improper term
A triad is 3 notes and that isn't what I shown .

( but, that's not important to your question at all really so don't take it wrong way, because I want you focus on giving you a good answer as the priority)

When we use the extensions or color tones we can handle them in a few ways.

Take Dmin7 DFAC again
DFAC
FACD
ACDF
CDFA

That is our inversions ,now let's say we use drop 3
( drop3 the 3rd highest voice by octave )
DFAC becomes FDAC
FACD becomes AFCD
ACDF becomes CADF
CDFA becomes DCFA

Now we have our 4 voicings per octave for our basic chord .

Now we look at our full 13th chord

Dmin13
D..F...A..C...E...G...B
R..3...5...7...9..11..13

The 9 ,11,13 are called extensions or color tones .

They sit in high register for melody .

So let's go back to our

Dmin7 drop 3

FDAC
AFCD
CADF
DCFA

Now, let's say we want the 9th added we add it above on top ( E is the 9th )

FDACE
AFCDE
CADFE
DCFAE

Remember our color tones serve a different role than the bottom 4 notes of a chord.
The extensions add a flavor.

Another option , we can add the

9th is E
11th G
13th is B

FDACE
AFCDG
CADFB
DCFAE
FDACG
AFCDB
CADFE
DCFAG

So , in this instance we actually change color tones with the drop 3 voicings .

What about creating a big 7 note chord?

Dmin13
DFACEGB

What if that is our chord symbol ?

What we do is break it into two duplicate chords a wholetone apart.

DFAC and EGBD
( two minor7 chords )

The first we keep as drop3 dmin7

FDAC
AFCD
CADF
DCFA

This will be low register
Next we take our Emin7 and make a drop 2 of it
( so its different than the drop3 )

This will go in high register
( so that we always have extensions in the melody of our voicings of Dmin13 )

Emin7 EGBD drop2 is
EGBD becomes BEGD
GBDE becomes DGBE
BDEG becomes EBDG
DEGB becomes GDEB

Now we have Emin7 drop 2
That we place in high register while dmin7 drop3 in low register ( four voicings PER octave )

Dmin13 four voicings per octave
( low note is bass , high note is melody )

FDAC,EBDG
AFCD,GDEB
CADF,BEDG
DCFA,DGBE
FDAC,EBDG
AFCD,GDEB
CADF,BEDG
DCFA,DGBE
FDAC,EBDG
AFCD,GDEB
CADF,BEDG
DCFA,DGBE
FDAC,EBDG
AFCD,GDEB
CADF,BEDG
DCFA,DGBE


Now ,
If we chime in to the gentleman Mr
Bassdude

He will reveal that while those things are happening
( all through these examples)
His bass layer will operate in a specific way to hilight
The harmony on bottom)

Which is a little bit different
( but it uses all the same information
The bass will hilight the root note even though our voicing has a different low note in each inversion .

Because all this information is describing what all your instrument layers are adding up to be .

( not just one instrument )

In your mind you can begin to see how the different instruments cover a different area and how your options open up just on a single chord symbol .

 

Last edited: Dec 1, 2021

Unnecessary discussion indeed.

This is an unnecessary repetition...

This is not technically a chord, but an entire Major/minor scale harmonized in 3rds as of its 2nd/4th degree.

Dm13(11) = Emb13(b9)(11) = FM13(#11) = G13(11) = Amb13(11) = Bøb13(b9)(11) = CM13(11)

Tell me how would you voice a playable m13 on the guitar...

I though I made very clear to be referring to added tones to a triad, thus forming tetrachords, such as m7 you've initially used as an example.

What about explaining, on the same basis, the 5 minor chord qualities I've pointed out?

Once you add an extra tone to a triad ( b6, b7, M7, 9, etc ), does the inversion, or drop voicing matter?

One could do the same with any 7th / 6th chords from a respective Major/minor scale - e.g.: I've proposed you 2 examples above (using some of the "unique chords") which were also split/broken into EM7 + F#m6, or F#m6 + G#m7, G#m7+ A6, etc... Does that mean anything to you?

That doesn't have anything to do with my simple question about added tones to a triad (call them as you please).

Could you please focus on responding it properly?

If possible, for these 5 minor chords qualities, I'd like you to name the 4 inversions based on their eventual bass tone.

But what if I'm a solo player?

Cheers

 

Last edited by a moderator: Dec 1, 2021

I'd like to know your perpective about this as well... thanks in advance.

 

Guys. Last chance for this thread to stay on topic.
I banned Mc Cost Graw.

Please, don't answer to off topic / trolling comment, just report.

Otherwise, I'll have to close this thread.

 

Last edited: Dec 1, 2021

I don't have any perspective on that .

( it's not clear the meaning or significance of any of it either implicit or explicit)

But , if you care to elaborate more on what is meant by it then I'll try to form a perspective on it .

Example

" .....and I'll be gone forever ..."

Lol
I have no clue the meaning or intent behind that ,
( why would you think i would want you to be gone forever? Lol )
Honestly, I'd rather you stayed than go forever.
So I will stick to the logic of the comment and not answer you . Lol

 

There is tons of misunderstanding involved in there
Its too much to really address

For example

You saying adding tones to a triad to create a tetrachord , but that isn't what a tetrachord is at all

A triad is already way larger than a tetrachord.




A tetrachord is a perfect fourth between the first and last note.

( a tetrachord is totally outside the realm of this entire thread. )
Tetrachord has no place within this specific topic of the thread .

You say things like " unnecessary information "
But a little while later didn't grasp the very information
You deemed unnecessary ☹

You say things like unnecessary repetition, but
You still didn't understand what that information was
EVEN after being repeated


( that means it should have been repeated more not less ) lol

Joking aside, please keep in mind that other people besides yourself are going to be reading the comment , so if you get a impulsive urge to yell unnecessary repetition , just keep in mind the information is presented with a priority placed on that attribute.

( many people are going to be looking at it and the information is structured in such a way where you have to understand that part before reading the next portion and understand that because the information builds successively. )

Its just a lot to pull the kinks out .
Would actually have to address each issue inside each statement.
If you look at the thread title
It says " mini bites"
That just means talking about a specific portion of information and its significance and relationships.



Your image of harmonizing a scale, is outside the specific context of this thread as a mini bite .
( that is just something someone created , a totally
Different Context than this thread )

The thread isn't about a particularthing created but
Understand every possibility which could ever be created .( within the scope of the context )

( i know the text format leaves a lot to be desired in terms of communication but I hope you realize I appreciate and enjoy speaking with you fine sir .)



That is absolutely false .

Dmin13 is a chord
DFACEGB

D is the root
F is the 3rd
A is the 5th
C is the 7th
E is the 9th
G is the 11th
B is the 13th

Its a chord demonstrably.


How would I play it on a guitar ?

That could be a thread of its own lol

( all the ways to play a chord symbol on a instrument
Lol )

Here is a couple ways to play
Dmin13
On a guitar with D root note




Here is a second way to play Dmin13
On guitar

The information I described to you earlier,

But this time where
Emin7 resolves to Dmin7
( 4 voicings per octave of that resolution

[ Emin7] / [ Dmin7]

You can do the same exact voicing resolving down a wholestep as well .





And finally
You can play just Emin7 in the guitar
While the bassist outlines a Dminor

Emin7 EGBD

Drop 2

EGBD becomes BEGD
GBDE becomes DGBE
BDEG becomes EBDG
DEGB becomes GDEB

BEGD to ADFC
DGBE to CFAD
EBDG to DACF
GDEB to FCDA
BEGD to ADFC
DGBE to CFAD
EBDG to DACF
GDEB to FCDA
BEGD to ADFC
DGBE to CFAD
EBDG to DACF
GDEB to FCDA
BEGD to ADFC
DGBE to CFAD
EBDG to DACF
GDEB to FCDA

 

Last edited: Dec 2, 2021

I've made a demonstration of
Dmin13

https://ufile.io/f/gzl5n




Everything you hear is just 1 single chord

Dmin13

( if you load it up and play a repeating simple
Dmin triad over and over , everything is in harmony with it .

 

Last edited: Dec 3, 2021