Volume IV.
ALTERATIONS
-------------------
lets take a look at our C major scale.
1.C maj triad CEG maj7th CEGB
2.D min triad DFA min7th DFA
3.E min triad EGB min7th EGBD
4.F maj triad FAC maj7th FACE
5.G maj traid GBD dom7th GBDF
6.A min triad ACE min7th ACEG
7.B min flat fifth BDF min7-5 BDFA

if we fully extend all the chords we can create a 13th chord that fully expresses the uniqueness of each mode .

1.CEGBDFA
2.DFACEGB
3.EGBDFAC
4.FACEGBD
5.GBDFACE
6.ACEGBDF
7.BDFACEG

ALTERATIONS modify the 5th (sharp or flat) the 9th (sharp or flat ) the 11th (sharp or flat) the 13th (sharp or flat)
and these modifications are used along with the basic chord tones.

Altered chord tones over Dominant 7ths
Possible alterations: b5, #5, b9, #9, #11, b13.

ex. normal G7 from mixolydian mode of C major is G7, GBDF.

lets see a flat 5th would be. GBC#F a sharp 5th is GBD#F
--------------------------------------------------------------------------------

ex. normal G7 add 9 from mixolydian mode of C major is , GBDFA.

lets see a flat 9th would be. GBDFG#( our same as Ddim7) a sharp 9th is GBDFA#
------------------------------------------------------------------------------------

ex. normal G11 from mixolydian mode of C major is , GBDFAC.

lets see a sharp 11th would be. GBDFAC#
------------------------------------------------------------------------------------
ex. normal G13 from mixolydian mode of C major is , GBDFACE.

lets see a flat 13th would be. GBDFACD# ( same note as sharp 5)
------------------------------------------------------------------------------------


Altered chord tones over Major 7ths
Possible alterations: b5, #5, #11, b13.

ex. C maj key, C maj 7 CEGB

let's see a flat 5th from Ionian of C major is CEF#B a sharp 5th is CEG#B (notice the Caug CEG#)
let's see a sharp 11 would be CEGBD#
let's see a flat 13th would be CEGBDFG# ( notice the Caug CEG#)

-------------------------------------------------------------------------------------------------


VOLUME V. Tritone substitution.
-------------------------------------
we covered C note becoming a C maj KEY
then a Cmaj7 chord
then the Cmaj7 chord becomes a V to I or GBDF, to CEGB
then the V to I, becomes a ii, V to I or DFAC.GBDF,CEGB
we then covered how each one of the ii,V I turns into their own dominant chords D7, G7,C7
we then covered how each one of their dominant chords turns into a V to I, then ii V I,
next we introduced the diminished chord the G7 turns into G#dim7,Bdim7,Ddim7,Fdim7 ( as we seen above the addition of G# note as alteration)
once we introduce the G# , that ads the C augmented chord which is C,E,G#
next we shown that C,E,G# each become their own keys each with their own ii,V i (refresh with beginning posts if needed)

Now we can show the introduction of the tritone substitution.

this means that when we have a ii,V to I our ii V part can be substituted with the ii, and V of the key a tritone above our location.

if our ii chord is Dm7 and our V is G7 GBDF from key of C we can substitute with
the ii G#m7 and V c#7 of the key of F# major.

---------------------------------------------------------
key of F# major
F# G# A# B C# D# E#{ F}
1.F#maj7 F# A# C# E#{F}
2. G# min7 G# B D# F#
3. A# min7 A# C# E#{F}
4. B maj7 B D# F# A#
5. C# dom7 C# E#{F} G# B
6. D# min7 D# F# A# C#
7. E#{F} min7-5 E#{F} G# B D#

-----------------------------------------------------

the reason why this is possible is because the chords share 2 pitches the 3rd and 7th ( but they are reversed)
ex. G7 from C maj key GBDF C#7 from F# major key C# F G# B ( notice we see that g# again like when it was used in G#dim7 and Ddim7)

the B and F are contained in both chords as a bridge to the substitution . the new V chord C#{Dflat}7 acts as chord alterations of the G7 would .

this Tritione substitution implies a Diminished chord if we start on C and create a dim7 chord we have

C D# F# A

(notice the F# tritone sub)

however if we extend this Diminished chord out to a whole half diminished scale ,we get 2 diminished chords
WH Diminished scale C D# F# A B D F G#

C D# F# A and B D F G#

now we see our tritone sub (F#) and in the second half we see our C aug CEG# and our G7 to dim7shapes G#dim7Bdim7Ddim7Fdim7

our final step is to take the C D# F# A and make each one of THOSE their own major key and then place a V to I and then ii V I before each.

G7 Cmaj7, A#7 D#maj7, C#7 F#maj7, E7 to Amaj7,



next our ii V to I for each of the four

dm7 G7 Cmaj7, fmin7 A#7 D#maj7, G#min7 C#7 F#maj7, Bmin7 E7 Amaj7


(each one of thse ii, V's ALSO resolves back to Cmaj7!


we can see inside our tritone substitution , but any one of these ii V , can resolve to the I of C major

dm7 G7 Cmaj7
fmin7, A#7 Cmaj7
G#min7 C#7 Cmaj7
Bmin7 E7 Cmaj7

this allows us by using the dim7 chord shape along with the HW dim scale to connect keys together expand our melodies and have at any time all options made available to us harmonically .



Volume VI.

our last chapter we will learn how to connect our diminished keys to our earlier discovered augmented shape keys ( giving us access to all 12 keys and notes to use in any context we find ourselves in for the future.)
.

 

Last edited: Nov 11, 2017

We have seen that when we take the C aug chord C E G#{A-}
expand it to each their own key
C maj,E maj,G# maj{A-}maj
then add in their ii V to I

each one of their ii V I resolves to the C maj7 chord.


Dmin7 G7 Cmaj7
F#min7 B7 Cmaj7
A#min7 D#7 Cmaj7




this is called a 3 tonic key resolution ( each ii V resolves to Cmaj key )

we then recently seen that the same hold for a 4 key shape based off the diminished HW scale

"
next our ii V to I for each of the four

dm7 G7 Cmaj7, fmin7 A#7 D#maj7, G#min7 C#7 F#maj7, Bmin7 E7 Amaj7


we can see inside our tritone substitution , but any one of these ii V , can resolve to the I of C major

dm7 G7 Cmaj7
fmin7, A#7 Cmaj7
G#min7 C#7 Cmaj7
Bmin7 E7 Cmaj7
"

we can now combine these into one



if we look at our chart we can see that there is a location form within the augmented shape ( 3 keys that resolve to Cmaj7)
the ii V, fm7- A#7 (key of D#{E-} maj)
connects to our 4 key tonic ( diminshed ahpe that resolves to Cmaj)
through the G#maj{A-}maj key

fm7 (ii from D#maj) is equivalent to A_{G#maj}
as a substitution lets look at their notes.

fm7= F G# C D# G#maj G# C D# G

just like when we had dm7 G7 Cmaj7 and implied D7 G7 C7 ( new key a fifth away) Fmaj key,Cmaj KEY, GmajKEY

we can see that in the key of G maj the A min7 chord is same as the KEY of Cmaj vi chord Amin7

and we can see in our equivalent chords

( ii=IV), {V=vii%=#vdim7=viidim7=iidim7=ivdim7} ,( I=iii,=vi)

that portion (I=ii,vi) that I=vi so Cmaj7 = Amin7

and going back to the D#maj key and comparing to G#{A-}maj key the same is also true Fm7 (ii of d# maj vi of G#{A-}maj)

Fm7=G#maj7

we now have the ability to have 3 tonic system of ii V's that respolve to Cmaj7
to connect to the 4 tonic system of ii V that resolve to Cmaj7

(not only is the obvious Cmaj7 to connecting point as home, the Fm7=G#maj7 is the connecting point as tension or dissonance)

 

we now have the ability to fathom the totality of tonal music language. a way to use all 12 notes, all 12 maj keys , from any starting location we find ourselves any chord we land on , any melody or harmony we have in our head. we can connect to set theory and atonal based 12toneet. the ability to fully express anything, and understand (deconstruct any song 12 tone et)

please take your time go through this material as many times in each chapter as you need practice the sound of each transition, take your time and work on as much as you can. your patience will pay off greater than you can ever imagine just starting out . give yourself the ability to be fluent in the language of tonal music.


THE END.

 

Last edited: Nov 11, 2017

There will be a whole other section coming up next ( in this thread) for putting all this to use.
many examples.
breaking it all down step by step
and how it fits together in the sense of,
using this language to write or -rewrite or modify written things.
ex. how to take a riff you write and come up with 50 variations
ex. how to reverse engineer any song.
ex. how to take a previously made song and transform it .
ex. how to take a melody and come up with 50 variations
ex. how to start any place and go somewhere else.
ex. how to get unstuck
ex. how to overcome writers block.

 

Last edited: Nov 11, 2017

Practice section I Basics. dissonance to consonance tension to home
-------------------------------------------------------------------------------------------

Lets start in C major KEY CDEFGABC
our home note is C. this is consonance. the notes of triad CEG C major. notes of maj7th chord is CEGB
----------------------------------------------------------------------
our 5 note (G) is tension or away from home triad GBD maj, Gdominant 7th GBDFA
---------------------------------------------------------------------------
all of the chords in this key are variations of these 2 chords.
----------------------------------------
Practice 1. on your keyboard play G then C play GBD then CEG play GBDF then CEG hear the tension release? compare play ceg for 1234 compare to playing gbdf12 to ceg12 go back and forth several times.
----------------------------------------------------

how does this work?
our 4th note of the key is F this is our most tense note if we look at the triads and7ths of each mode

cegb Cmaj7
dfac Dmin7
egbd Emin7
face Fmaj7
gbdf G7 (dom)
aceg Amin7
bdfa Bmin7flat5th

first look at all the chords that have no F

cegb, egbd, aceg this is the I the iii and the vi

next look at the chords that have the F note
dfac,face,gbdf,bdfa this is the ii, IV, V, vii%

this gives us our chord equivalents

--------------------------
V (tension , to I (home,resolution)

--------------
GBDF , bdfa, dfac, face or our V,vii%,ii,IV = tension or equivalent to V

these all resolve to
CEGB, egbd,aceg or our , I ,iii, vi or equivalent to I

this is all 7 chords and modes of the C KEY
-------------------------------------------------------------------------
(I=iii,vi),{V=vii%},(ii=IV) by representing this way we can see how it applies to ANY major key

{caps are maj and lowercase is min % is min7 flat 5th(half diminished ex. BDFA}

note: our ii and IV are subdominant, our V and vii% are dominant our I and iii, and vi are Tonic

even though our F note is the most tense in the KEY
our ii and IV chords are slightly less tense than the V and vii% chords are
so when we have a ii V to I the ii introduced some tension the V gets more tense
then the I releases that tension.
------------------------------------------------------------------------




We started with a note C that became a major key. next that gives us a chord for C cegb Cmaj7
we then see that three chords equal Cmaj7 cegb, the iii Emin7 and the vi Amin7 aceg
these 3 chords are home or consonant
-------------------------------------
Next the remaining four chords in the key are dissonant
the V gbdf, the vii% BDFA the ii DFAC and the IV FACE
--------------------------
if we begin to working on playing music and begin with a C maj KEY

we start by understanding the V to I tension to release we end at home to give the listener a sense of comfort.

the whole main concept we begin with this language, is that we begin with a destination in mind.
next we write what will come before that destination. its like your spoken language i think "store" then "me going" then i say "I, am going to the store" my final communicated sentence started with the destination and then puts the details in before.
from now on we will always work this way. any level of next detail added works its way to the destination.

We start writing with our destination in mind ( goes at end)_ then we write the dissonance leading to home ( write that first)
our final written riff or song section will resemble (dissonance) (home)
it comes out looking backwards compared to how we came up with it because we write music by coming up with our destination then lead up to it using dissonance to consonance or tension to release. this give sthe listener to the music a sense of movement, a sense of landing strong at home , it gives impact and depth. something happened .a story was told.




step 2.
our V to I or most basic tension release can use this language
to expand a step further by putting
ii V to I the ii V takes up four counts 1234 and the I takes up four counts 1234
the bar is 12341234
in C major this is Dm7,G7, Cmaj7 or DFAC<GBDF<CEGB triads( DFA,GBDF,CEG) { if you work in triads still make the V a 7th because the B to C is a leading tone resolution makes it land harder and stronger on home.

Practice 2. lets take our conceptual ii V to I, or Dm7, G7, Cmaj7 or DFA,GBDF,CEG
but make what we write a simple melody with leading tone resolution
play D down to B for 1234 then C for 1234 listen closely,{our I note is a period}
now compare that to playing the chords V to I
now compare those 2 to playing DFA,GBDF,CEG
listen how the melody give you the exact same feeling just more simple or sparse.
lets expand our melody a little practice
D to F to A down to G down to F down to E down to D down to C

here is another one extended a bit.
D up to F up to A up to C down to B down to A down to G down to F down to E let E ring longer then play a CEG.

lets extend that a tiny bit
C# up to D up to E up to F up to A up to C down to B down to A down to G down to F down to E down to D down to C let C ring.NOW compare that to ii,V to I or Dm7 G7 Cmaj7 (dfac,gbdf,ceg)

so even though your structure(language) is ii V to I there is a million ways to make that into music.

looking at our chord equivalents

(I=iii,vi),{V=vii%},(ii=IV)

we introduce our first substitutions.
we begin with V to I
that turns into ii V to I
we can substitute any V=vii% ,ii=IV
and we can substitute any I=iii=vi
it just depends on the details of what melodies and chord sounds we want
its our choice.
-------------------------------------------------
say we start with V to I
lets try substituting V with ii then IV then vii%
then we will substitute I with iii then vi then I
so all together

ii,IV,vii%,iii,vi,I or (dfac,face,bdfa,egbd,aceg,ceg)

that comes across like a longer progression even though its just a V to I at the language level.
we come up with our main structure,
then we decide how to turn that into music itself.
practice this progression in different ways !

try this one.

face, bdfa,egbd,aceg,dfac,gbdf,ceg,ceg

here is how this one works we start with V to I
or 51 next add a number higher 62, again 73 again 14
now starting with the 4 we add them together in reverse order so we can get the 5 to 1 in the right direction 4736251 equals IV,vii%,iii,vi,ii,V,I
check this out you can start form any point
6251473 vi,ii,V,I,IV,vii%,iii
3625147 iii,vi,ii,V,I,IV,vii%
try all these.
--------------------

lets go back to our chord equivalents
(I=iii,vi),{V=vii%},(ii=IV)

okay start with V to I now substitute out then put a I at end.
so V can be a vii% and I can be a vi so for the first one.
---------------------------
vii%,vi, I or --------bdfa,aceg,ceg,{ceg rings out}
------------------------------
lets try another
so V can be a ii then vii%
and I can be a iii this gives us
------------------------------------------------------
ii,vii%,iii,I,I or ----------- dfa,bdfa,egb,ceg,{ceg rings out}
----------------------------------

practice these. then try your own!

 

Last edited: Nov 12, 2017

Practice section 2. involving other keys(substitutions, modulations)
------------------------------
We talked about our V to I in a KEY
and we talked about our equivalent chords in the key

(I=iii,vi),{V=vii%},(ii=IV)

these are our most basic substitutions possible ,to add variety to the music we envision that we are writing.

Once we get comfortable exploring every option in the single KEY of C major, we want to further expand to include other keys.

Just as we talked about before we always start with a destination in mind then come up with what leads to it using our dissonance to home, tension to release.

The next way to use substitutions is to go outside the key. and the first step of that is traveling to the keys right next to us on the circle of fifths.

lets now look at our C major on the circle of fifths. we can see that to our left is F major , and to our right is G major.
we can also see each one of those keys each only have one note different than C major. to travel to these keys (modulation, substitution outside of key) is the logically most consonant.


We begin with our ii V to I in C major which is Dm7,G7, Cmaj7 ( DFAC,GBDF.CEGB)
from this starting point we can turn each one of these chords into its own dominant 7th chord.

D7 G7 C7

this becomes our new foundation
if we turn it into V to I for each dom chord we get

D7 to Gmaj7, G7 to Cmaj7, C7 to Fmaj7

the next step is to add the ii of each before it

Amin7 D7 Gmaj7 Dmin7 G7 Cmaj7 Gmin7 C7 Fmaj7

now we have 3 keys put together into a progression


the amin7 is the ii of the KEY G maj and the vi of the KEY Cmaj
the Dmin7 is the ii of the KEY of C maj and the vi of the KEY Fmaj

this means that our progression has a natural sounding transition with the key changes being least abrupt possible.

practice playing our progression now.


Amin7 D7 Gmaj7 Dmin7 G7 Cmaj7 Gmin7 C7 Fmaj7
-----------------------------------------------------------------------


ACEG ,DFAC ,GBDF# , DFAC ,GBDF ,CEGB , GA#DF ,CEGA# ,FACE

---------------------------------------------------------


lets see what else we can do with it.


lets look at our chord equivalent

(I=iii,vi),{V=vii%},(ii=IV)


lets swap some chords out

(IV,vii%,iii,I)of Gmaj (ii,V,I)of Cmaj (IV,V,vi,I)of Fmaj

practice this one and then make a few of your own as well. also refer back to when we made the melodies and compared to chords in last (post practice 1.) come up with some of your own variations, lines, melodies, and chord changes harmonies.

 

Practice section 3. Modes, Extended chords.
------------------------------------------------

Lets look at our C major KEY once again. This time take each mode and Extend the full chord for each mode.
1.CEGBDFA
2.DFACEGB
3.EGBDFAC
4.FACEGBD
5.GBDFACE
6.ACEGBDF
7.BDFACEG

Now lets take say our Dorian mode and examine this closer.
2.DFACEGB

what is important here is the notes we see have to be played in order from low (left) to high (right)
lets look deeper. how many sets of triads are in this D chord?
D with a FAC triad. ACE triad.CEG triad EGB triads on top. or (D with Fmaj,D with Amin,CmajEmin on top)
(Practice playing this now above)
next same thing but for seventh chords.
D with FACE 7th, D with ACEG D with CEGB on top or (D with Fmaj7,Amin7,Cmaj7 on top)
(Practice playing these and variations on top of the D note.
Next break it up where we have a Dmin on bottom and the triads on top.
DFACEGB
Dmin on bottom, ACE on top, CEG on top EGB on top.
Dmin7 with Cmaj7 on top ( DFAC, with CEGB on top)
(Practice these and listen close to the sound and feeling you get when changing the chords on top)
---------------------------------------------------------------------------------------------
we just did this with our II chord lets try our V chord( in the KEY of C)
5.GBDFACE
put our G on bottom then stack on top BDF,G on bottom DFA, then FAC then ACE
(Practice this now on your keyboard)
Next try it with our seventh chords.
G on bottom BDFA on top, DFAC on top, FACE on top (G then Bmin7-5, then Dmin7, then Fmaj7)
(Practice this now on your keyboard)
Next we put a triad on bottom
GBD, on bottom DFA on top,FAC on top ACE on top
(Practice this now)
next triad on bottom 7th chords on top
GBD, on bottom BDFA on top DFAC on top, FACE on top
---------------------------------------------------------------------------
We did this with our ii and V chords lets try out I chord next
1.CEGBDFA
C on bottom EGB on top, GBD on top BDF on top DFA on top
(Practice this on your keyboard)
Lets do our 7th chords next.
C on bottom EGBD on top GBDF on top, BDFA on top
(Practice this on your keyboard)
Next lets try with triad on bottom
CEG bottom, GBD on top, BDF on top, DFA on top.
Next lets try this with triad on bottom 7th chords on top
CEG, EGBD on top,GBDF on top, BDFA on top DFAC on top
--------------------------------------------------------------------------
now that we can see useful ways of using our extended chords lets try this with a ii V to I in Cmajor
2.DFACEGB
5.GBDFACE
1.CEGBDFA
(practice as you did before, but now with the whole ii V to I
-----------------------------------------------------------------------------
here is a video to help put this information to use writing.

 

Last edited: Nov 14, 2017

@MMJ2017 's $100 billion mission failed.

 

@MMJ2017
If there is just one reason to learn the Tonal Language, that reason is this piece:

Man I just kidded. Please take my deep ignorance into account while continuing this thread. In the modern era, distinguishing the immaculacy form the maculacy is so difficult because everyone calls themselves GOD. In the past this complexity in decision making didn't exist.

 

Thank you my friend its nice to hear from you! :D

 

@MMJ2017 what's your idea about this post?
https://audiosex.pro/threads/do-you...ter-program-cheating.32488/page-4#post-295947

 

the only thing i think is cheating, is when a writer or producer or song maker, does not put much of themselves creatively into the music.
anyone can follow any process and use any method because music is NOT the sound that plays through your speakers in the end! music is the language, the foundation, the structure. the sounds you hear at the end, is the manifestation of the language of music , turning into art when the vibrations push air out of the speakers and the listener hears it.

say for example you make your own type of building blocks of soundscapes "samples" then save them in a folder then start using them as building blocks to hear how you want to setup your foundation, then you take them away as you begin to build the melodies and arrangement, that could be a process you could follow.

another one is doing same thing but keeping samples sound fx you made to add a different feel
another is using ideas and sampling another artist or song and transforming it only having the original sample as a familiar part to the listener even though it is really transformed to be different and unique.

i def think if using samples at all the integrity is in making your own sound designs plus its a fun process in itself.

i think a song writer should put all themselves they can into a piece of music to have impact. as long as they do that and make it wonderful that is what matters( it takes some work though)














i missed that you focused your comment on a specific post. sorry
FOSTER911-
{With post-modernism (minimalism as a subset of it), you don't have to know anything. And everyone is equal. In this case, everyone is literally on an equal footing. Everyone can be an art lover. Everyone can be an art critic. So, post-modernism embraces the everyday, the mundane, even the kitsch, and it glorifies it.}

I disagree,

foster911-
{you don't have to know anything. And everyone is equal.}

it is like saying a baby is equal at speaking English as the parent.
the baby has a process to follow to step by step learn that there is even a language spoken and break down how it works over time learn pieces, by the time of a teenager or college student the person is probably equal then.

foster911{In this case, everyone is literally on an equal footing.}

it is like saying a carpenter of 15 years experience and training , is EQUALLY QUALIFIED to build your house as a person with no training. a doctor with 10 years of schooling is equal at heart surgery as a person never looked into it.

there is a way wood and nails and measuring tape works, the type materials used the handling of saws the ways materials act different weight loads stress design when blueprinting, all these go into construction.

there is a way the human body works our cells, our organs the immune system, getting infections and how things can be damaged or how they get fixed when talking about doctors.

there is a way the language of music works, the way sounds effect humans, the way the instruments work, the tools to record, the operation of gear all these aspects effect what music and creating music is.

source wiki

"Postmodernism describes a broad movement that developed in the mid- to late 20th century across philosophy, the arts, architecture and criticism which marked a departure from modernism.["

this is a term used to describe a period of time that is all it is. we look back and name those based on the context of the world what was happening.




foster911{art is splicing more simple ideas together to make a whole but it's usually heterogeneous.}


art1
ärt/
noun
noun: art; plural noun: arts; plural noun: the arts

1. 1.
   the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
   "the art of the Renaissance"
   synonyms: fine art, artwork
   "he studied art"
   • works produced by human creative skill and imagination.
     "his collection of modern art"
     synonyms: fine art, artwork
     "he studied art"
   • creative activity resulting in the production of paintings, drawings, or sculpture.
     "she's good at art"
2. 2.
   the various branches of creative activity, such as painting, music, literature, and dance.
   "the visual arts"

in the case of music or soundwaves moving the air from speakers.

the listener dictates whether it is considered art.
notice this portion of the definition of art

"..works to be appreciated primarily for their beauty or emotional power..."

this means the listener has to feel beauty and emotions come from the music.

to actually accomplish this you need to either A. know what music is the language of music and how to accomplish this with sound.
or
B. accidentally create sounds that then perfectly align with how human beings feel emotion from sound waves.

which option are YOU willing to pick?

in summary , i don't think there is ever a situation that applies to a human being which this statement is true.

foster911{you don't have to know anything. And everyone is equal.}

a person in a coma drooling and a microphone picking up the drips against the floor , and adding in a 808 sequence is NEVER going to be the same as a DRAKE song in terms of popularity, success, appreciation, emotional content, or value to a listener.

IF your statement WAS true then rain drops falling on your roof would be equally appealing and emotional as your favorite song.

ig·no·rance
/ˈiɡnərəns/
noun

1. lack of knowledge or information: "he acted in ignorance of basic procedures" synonyms: incomprehension of, unawareness of, unconsciousness of, unfamiliarity with, inexperience with, ... more

foster911{you don't have to know anything. And everyone is equal.}


reality would HAVE to work like ignorant people are equal to intelligent people for your statement to be accurate.

i take my answer from the way things actually work for humans to say if a ignorant human is same as an intelligent one.{answer is no. there is no such context}

YOU could take your answer from your imagination and say "YES, ignorant people are the same as intelligent people in such and such context."

Ignorance or {you don't have to know anything}
leads to misunderstandings, conflict, violence.

 

Last edited: Nov 23, 2017

Thanks for all the infos, @MMJ2017 , huge work It's greatly appreciated !

 

 

Last edited: Dec 11, 2017

​

 

dude lolololololol

i think you just might be taking a leap of faith in that instance lol haha


satan does not condone knowledge about music!
just light a red candle and pray to him, he will tell you music knowledge is not allowed!

 

Last edited: Dec 11, 2017

this is a circle of fifths i made you can use you can derive anything from it.

 

Last edited: Dec 11, 2017

Get thee behind me, Satan!!!1! Thou art an offence unto me!
Seriously though, first thing I thought of when I read all them arcane incantations with creepy glyphs & symmetry and ...other satanic stuff

*pentagram

 

If you are interested in the "language" of Western tonal music, check https://www.amazon.com/Cambridge-History-Western-Music-Theory/dp/0521686989

Studying music theory out of historical context leads to such abominations as the diagrams posted by our friend MMJ (he is a good guy, but too much jazz improvisation theory leads to worshipping goat images as we already saw )

Seriously, check this book, if you already know some basic music theory and want to invest deeper. It's not a textbook, but collection of various essays on different topics.

If you need a good course on harmony (I don't think that this forum allows good and readable formatting for such publications despite MMJ's efforts to spread jazz theory):

Check these:

Elementary theory:

http://openmusictheory.com/

http://tobyrush.com/theorypages/index.html

http://www.daveconservatoire.org/


https://www.musictheory.net/lessons

http://free-zg.t-com.hr/hstanekovic/MusicalHarmonyLQ.pdf


https://archive.org/details/cu31924022305357

(I think that this is one of the few harmony books in English that are not based on the Austrian system - which is popular in Austria, Britain and USA, but most of Europe is on the Riemannian system of functional theory - (aka learn chord substitutions the real way, not the "fake jazz theory", no offense jazzers)



Commercial alternatives for this stuff is
https://www.amazon.com/Harmony-Voice-Leading-Edward-Aldwell/dp/0495189758

Kostka/Payne - Tonal harmony

More advanced stuff:


Alan Belkin's ongoing harmony youtube course, check also his treatises on his website

Kostka/Payne - 20th cent

Introduction to post-tonal theory - J. Straus

(very expensive and very dry/boring, but is packed with essential information for 20th century music - yeap, all the "negative harmony" stuff that got popular with Collier is here thanks to out friend Bartok)


other books on more contemporary harmony by Persichetti, Ludmihla Uhlela (also very recommended), Roig-Francoli.

Geometry of music - Tymoczko (I think that this one will become a modern classic = very readable)

Schillinger's volumes (the teacher of Gershwin) should be easy to find (out of copyright I think), if you are interested in the original jazz theory, not the modern chord-scale system which was created mainly for impovisation and based on the Russel's (Beato's teachers I think?) ideas.

Arranging concept complete - Dick Grove (my favourite big band/jazz arranging manual) -

Various books dissecting Stravinsky, Bartok, Debussy, Ravel etc contain gems that are not in the books or just mentioned.

Ok, that's it for harmony.

(I think that all these books are easy to find you know where, but most of them are valuable enough to purchase, imo)