My sincere thanks. I've always tried to keep a sense of humour here since I started in 2011. That's a lot of mental exercise for a lazy old guy like me who's conversation usually involves my prostate.

 

My buddy, ignore works only when the person who ignores, has logged in (for example suppose X ignores Y). When he (X) logs in, the system works as he (X) intended. This means it identifies his settings (X) and doesn't show the messages and quotations of the ignored person (Y) to him (X).

For ignoring a person, you only has to click on his name (Y) and click on the ignore button. From then on, till you're logged in (X), can not see his messages (Y) and also his quotations (Y) quoting your (X) messages.

But if you (X) logs off, You (X) can see the posts of the ignored person (Y). That is, ignoring mechanism doesn't work in the logged-off mode.

 

Here in AS, everything is great and wonderful. Right assumptions, wrong assumptions, understandings, misunderstandings, ignorings, attentions, ... everything.

 

clown shoes ignore hahaha gotta be foster.....no one else can create a sentence this devoid of meaning

 

and this time he expanded the madness to not only one account, but multiple! to be able to hold "conversations" with himself like:

"you think i should?"
"yes, for sure"
"oh you are so clever"
"oh how nice of you"
"here you have a like", "oh no, you have a like"

lol

a total mental case...

.

 

Last edited: Dec 17, 2019

@the real Pict if you don't want your ignore list be empty, just put @EddieXx in it. He's the rudest person you will ever see in your whole life. He patently insults his victims and does it remorselessly though I won't ignore him but you do it.

It was just a friendly advice.

 

So? Your point is?

 

My IQ was 138 before I began to read this thread. Now that I've read it all, my IQ has dropped to 68. I can't tell if it's a good thing or a bad thing though, because my IQ is freakin' 68.

 

High IQ deals with having high ability to:

1. Learn
2. Understand
3. Think

In this thread, no signs of genuinely learning, understanding and thinking are apparent but their polar opposites so your statement is valid. No offence, just kidding.

 

When I see all the negative insulting things a lot of people are posting, it makes me think their using it for an outlet for all the things they are too cowardly to say to people's faces in real life .
Nobody behaves like that .
( Well here in NY , not without consequences anyway. )
Where I'm from if you just walked up to someone and talked ambiguously insulting them you would wake up 2 hours later with stars going in a circle around your head ,( and a stinging pain near your anus.)

 

As long as you don't accidentally hang yourself attempting to tie your rainbow colored clown shoes , I believe you are okay.

 

I think something is not working right, I can't find all the songs you posted of yourself what's going on?

 

So who put Basil in the ratatouille?

What was the topic again? Maybe everyone should go back to page one, do not pass go, do not collect $200

 

I don't like to ignore anyone unless they are a true troll.
I think i just see more connections between music theory and other things than some others care about.
Yet this thread seemed asking for people's philosophy on music theory.
That seems a pretty wide topic.
But I see for some people it is about telling other people what music theory is in a narrow sense.
Not exactly what the thread title implies, but my debate with 23322332 was a tiny subset of the thread, and he was not the thread owner.
There is a lot of interesting stuff in this thread even though it is full of big heads posturing.
For the most part I take what's good and leave the rest.

 

I will ask you to explain it then.
Mine dropped to 68 as well, but then I had to reread some parts, so I look to you for wisdom.

 

You can think about the Diminished7
Chord as a " parental form "


Because it is a symmetrical shape built from minor 3rds, this means that there's only 3 Diminished7 chords in the chromatic scale .

Bdiminished7
BDFG#

Cdiminished7
CD#F#A

C#diminished7
C#EGA#

If we stack them up in a row visually.
B..D..F..G#
C..D#F#A
C#E..G. A#

See how we have all 12 notes?

Symmetrical shapes are " Parental forms"
In this case a Symmetrical chord the Dim7.

Looking at Bdim7
BDFG#

What we have just to start with is 4 Dominant 7 chords.
A#DFG#B ( Bb7 b9
C#FG#BD. ( Db7 b9
EG#BDF. ( E7 b9
GBDFG#. ( G7 b9

Now notice that the last one is G7 from the key of C major ? ( V7 chord in C)

Let's look at the relationship of those other 3 dominant chords in the KEY of C major .

G7 GBDF is V7 of C major
C#7b9 is the Tritone substitution for G7.
E7b9 is V7 of the relative Aminor
Bb7 is the Tritone substitution for E7

So right way we can see that a dim7 is 4 Dominant chords and that those 4 Dom chords have a relationship with each other in the KEY of C major .

This means by using the Bdim7 chord .
BDFG# .
We can represent any of those 4 chords and their function easily.

Let's see an example .

Say we want to represent this.
Cmaj/ G7/ Cmaj/

We can take drop2 voicing of C6 CEGA

GCEA
Then slide up to a voicing of Bdim7

GCEA..G#DFB..

Since we are moving forward we can continue with the next voicing for C6 CEGA

GCEA..G#DFB..AEGC

Now we have represented our form.
Cmaj/ G7/ Cmaj/

Next, say we want to represent the relative minor and it's V7 chord now .
Amin/ E7/ Amin/

Well , we can either play the same exact thing we did last time .

GCEA..G#DFB..AEGC

See how it's Amin/ E7/ Amin/ ?

The Bdim7 chord perfectly expresses the E7
The C6 expresses the Amin.

However we can also change the C6 CEGA
Into a Amin6 ACEF# ( min6 is normally for a tonic in minor key )

So C6 CEGA compared to Amin6 ACEF#
The G slides down to F#.

Now let's see what it looks like .

GCEA...G#DFB...AEGC
F#CEA..G#DFB..AEF#C

That slight modification gives us a unique minor key sound .

Let's do one more. We will takes the Bdim7 BDFG#
And take the F note , slide it down to E
Now we have E7 EG#BD .
Let's see the comparison.

F#CEA..G#DFB..AEF#C
F#CEA..G#DEB..AEF#C

This again makes us express that progression more clearly.
( Amin/ E7/ Amin/)
So that our Major Cadence Dmin7/ G7/ Cmaj/
And our minor cadence Bmin7b5 E7/ Amin/
Sound differently .

Let's say we want to represent our backdoor dominant going to tonic.

The progression like this .

Cmaj/ Bb7/ Cmaj/

We can do as before


GCEA..G#DFB..AEGC

Or we can take G#DFB the B lowers to A# ( Bb)

GCEA..G#DFA#..AEGC

Now we have seen how taking the Bdim7 BDFG#

Is 4 dominant chords and how they relate to key of C major and it's relative minor .

But that's just the beginning .

Because the Dim7 is symmetrical.
You actually get 4 inversions with the new name .

Bdim7 BDFG#
Ddim7 DFG#B
Fdim7 FG#BD
G#dim7 G#BDF

And like those relationships we seen earlier with C major , ( take Bdim7 half step higher tonic key Cmaj

We have 4 major keys which those relationships work the same .

To see this look at the 4 dominants once more .
Bdim7 BDFG#

A#7......V7 of Ebmajor
C#7.......V7 of F#major
E7..........V7 of Amajor
G7,........V7 of C major .

Now anytime you focus on 1 of them take for instance Eb major .

The other 3 Dominant have those relationship s
Cmin is the relative minor of Eb major.

G7 is V7 of C min
A#7 is V7 of Ebmajor
E7 is Tritone sub going to Ebmaj
C#7 is tritone sub going to C min

Let's look at Amajor.

E7 is V7 of Amajor .
C#7 is V7 of F#minor ( relative minor
A#7 is tritone sub of Amajor
G7 is tritone sub of F#minor

Let's look at F#major key.

C#7 is V7 of F#major
A#7 is V7 of D#minor ( relative minor)
G7 is tritone sub of F#major
E7 is Tritone sub of D#minor.

So far we have taken 1 dim7 chord
Bdim7 looked at it's 4 dominants it's built from
Then we looked at all of those connections from each of the 4 keys that Bdim7 is connected to straight out of the box .

 

Part II the Diminished7 parental form.

We discussed what a dim7 is, how it's connected to things in music. That 4 dominant chords are related to each other in connection to that key, and that for each of the four keys connected to the 4 dominant chords this is true.
Let's now take a look at the other aspect or consideration that a dim7 chord is a parental form .

We can take a Dim7
BDFG#

Imagine the note before and after for 3ach note in the chord

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

And like a bicycle combination lock with 4 digits .
We can turn the current note forward and backward . By using this information , with 3 dim7 chords any chord can be constructed .( A chord voicing for any situation you will encounter)

Let's look at Bdim7 BDFG#
By moving any of the notes 1 tick backwards
We create a Dominant 7 voicing .
BDFG# G# to G is BDFG G7 GBDF
DFG#B. B to A# is DFG#A# Bb7 BbDFAb
FG#BD D to C# is FG#BC# C#7 C#FG#B
G#BDF F to E is G#BDE E7 EG#BD.

Starting over again by moving any of the notes 1 tick forward we create a Min7b5 or Min6th chord
BDFG# G# to A is BDFA Bmin7b5 or Dmin6 DFAB
DFG#B B to C is DFG#C Dmin7b5 or Fmin6 FG#CD
FG#BD D to D#is FG#BD# Fmin7b5 or G#min6
G#BDF F to F# is G#BDF# G#min7b5 or Bmin6

Starting over again by moving any 2 notes forward by 1 tick we get a Major6 and Minor7 chord.

CD#F#A D# to E F# to G ,C6 CEGA Amin7 ACEG
D#F#AC F# to G A to A# , D#6 D#GA#C Cmin7
F#ACD# Ato A# Cto C# , F#6 F#A#C#D# ,D#min7
ACD#F# CtoC# D#to E , A6 AC#EF#, F#min7

By being able to create these voicing types .

Dim7
Dominant 7
Major7
Minor7
Min6
Min7b5

We have now seen that we have a way to create any chord from a Diminished7 .

What this means is that in any location of an instrument this gives you a way to play any chord from any key in one location. ( Voice leading )
Second you can cover the entire instrument with
4 inversions per octave.
This means no matter the form ( song section or chord progression or chord (
You will have a way to play any melodic contour shape ( with harmony attached as well )
Start high note moving down steps.
Low to high to middle to low note
Right, any type of melodic motion can be made once you develop these ideas .

You can take any voicing of any chord and randomly select the next chord in your head ,
Now you have a way to play that new chord
Right in the same location that you have been at.
Also you can cover the whole instrument pick a random spot play a chord voicing next randomly pick a chord . Next randomly pick a location on the instrument now play the new chord there.
This means total freedom independent of the form .

 

Last edited: Dec 17, 2019

Over 100 years, critics said jazz musicians are playing wrong but they never listened and just minded their own business. MMJ is too young in comparison to those headstrongs.

 

I don't know what to think of this when looking at your entire behavior since joining.
The things you have said and the way you have acted and your lecturing me about using a smiley face?
What world do you live in. ?
Where you get to behave as you do without consequence?
You believe you are treated by an entirely different set of standards than the way you treat anyone else ?
You believe that me putting a smiley face on one of your unprovoked hatespeech comments which contains no meaning or value is worse than the actual things you have done?
I invite anyone to search from when you joined and look at your comments .
Talk about living in a fantasy world.
It might be best for you to learn how to function in the real world a bit before escaping behind a screen , coming here accomplish nothing by being here offer no value by existing here.
Your a coward hiding behind a screen that cannot do anything .

 

Last edited: Dec 17, 2019