What about them?

Let me guess.. they exist if they are properly written with note names on paper but the notion of secondary dominants vanishes if I am hearing them on a song or seeing them on a piano roll?

 

no no, your poor skills on the guitar are related to a lack of practice or a wrong way of practicing, and u can t deeny that your phrasing doesn t exist.a minute is enough to realize that,expecially if in a minute performance u aim to win a competiton,this means that in that minute u tried to do your best

 

To answer this more directly, I looked at the page again.

You have the word "CONSTRUCTION". What do you think it means? Building kitchen tables? I am pretty sure it's about intervals.

 

In fact coming to think of it your piano roll is almost inherently borrowing from notation anyway...

 

I focused on the composition, that was my choice.

Anyways, for what is worth.. I ended at 15th place on the voting out of 199 contestants.

I know I know, it was all rigged and people have bad taste in music.

 

you guys have been doing this all day... well... gotta admire the tenacity... i guess

hey.. if you guys teamed up.. bet you could make a great cacophony society....

just a thought

 

Last edited by a moderator: Oct 22, 2015

Holy shit, light has been brougth upon you (I hope)!

What do you thing a chromatic staff is anyway? A staff with 12 individual places for each note is just like a piano roll.

Just don't lose that train of thought, you're getting there.

 

i know a couple of things about playing guitar, don t use the choice excuse with me,a badly played scale is a badly played scale, u don t chose to play it muddy,it s just that the speed of the picking hand and the fretting hand don t match

 

Hey I can't read music either know how you feel. Although people are encouraged to play the sheet not just read it...

Secondary dominant is a dominant chord a fifth below the next chord in progression. an E7 before an A minor in key of C think Georgia on my mind.

Or watch this song, it maybe a little lame but it'll explain em with sound really well.

You might learn something.

 

.

 

Last edited by a moderator: May 29, 2018

21 pages talking about actual music instead of hardware, software etc...this must be a record

 

Thanks for the enlightnment.

BTW, loved your entry, you should've won.

 

HOLY SHIT foster911, I am proud of you!!

Out of all experts, the noob was the first one to figure it out!!

Now that is a valuable record!!

 

every time i know there s a contest it s too late,even u posted the video here after the limit

 

That's what happens to me all the time, in fact this was the first one I got on time and still only had 3 days to do the whole thing.

What matters to me is that I created something that otherwise I wouldn't do, I think that should always be the main motivation and not being stressed up about winning stuff. It's all very relative.

 

Man, I just told you that I know how to read music and that I know what secondary dominants are, wether by hearing it or reading them in any form.

I asked "what about secondary dominants?" because you didn't add anything to that.


You must be still thinking that all the intervalic theory is a shortcut to music theory and staff notation but no, it ain't. It complements it and is more in touch with the actual mathematics of music than staff notation, hence the resulting formulas.

 

Yeah I guess I didn't...

Just you kept mentioning V - I and stuff.

 

Kept mentioning it to stick to the same example. As you've seen, I applied the same example to secondary dominants. It goes for anything and in the end it should help you understand why the resulting theoretical aspects of analysis are linked to the sounds produced/written in any form and are NOT DEPENDANT on a specific way of naming/notating music YET they are totally dependant on the theoretical "school" of thought and conventions (for analysis) that you're following, in this case, Western Music.

For this reason, using piano roll, chromatic staff, diatonic (traditional) staff, MIDI, guitar tab, numbers, letters or whatever will always lead to the same musical result.

A C E - minor chord

R (A) b3 5 - the same minor chord

0 (A) 3 7 (in semitones) - ...the same minor chord


All 3 examples represent the same theoretical cluster (A minor chord) in Western Theory. You choose what suits your workflow depending on what's best for what you're doing.

Regarding trees... If you hear an A minor chord on the radio instead of the staff, does it cease to be one? The R b3 5 structure disappears? No.

 

Last edited: Oct 22, 2015

Yeah next time I am trying to describe to another musician what the changes are i'll do it in frequency. I'll then explain a melody by just writing numbers 0 - 11 and hope they get the right pitch. We'll work out the rhythm and duration of notes in fractions of hours.

 

If you want to talk about "describing" something to another musician, I wouldn't advise you to do that. Seems pretty retarded since you have much better options than in frequency or in semitones. Ever heard of chord symbols? Staff notation? Roman numerals? Chord structures (numbers)? Those are the usual tools for that job... hell, even piano roll would be better than those lousy options you came up with.

BTW: Aren't you the one using semi tones on your software? I thought you were starting to get all this but now I have second thoughts... lack of context causes silly questions like yours.