OT: just had to try this one more time

[Rich The Newsgropup Wacko]

Yup! Amazing!

Gonna go put my name in the script now...
--
"Amnesia used to be my favorite word, but then I forgot it."

 

[Ban]

Rich The Newsgropup Wacko wrote:

Yup! Amazing!

Gonna go put my name in the script now...

Hey Rich,
what is this "Pan" you are using?
--
ciao Ban
Bordighera, Italy

 

[Active8]

On Thu, 07 Apr 2005 04:46:49 GMT, Ban wrote:

Rich The Newsgropup Wacko wrote:
Yup! Amazing!

Gonna go put my name in the script now...

Hey Rich,
what is this "Pan" you are using?

Hi Ban:

It's his news reader. http://pan.rebelbase.com You have to look
toward the bottom of the downloads/build/whatever page to find the
windows build. I'm still evaluating it little by little.

<window smashing>
The windows build isn't as current as the Linux type OS builds,
so... well, I don't need much to know which OS rules. Leaving a
Linux file server running on an old Pentium 90 MHz for months
without rebooting tells me all I need to know. Sure I can leave XP
running for a month, but things get goofy... like no ftp. And when
Explorer and other OS components crash on OS shutdown... Maybe I can
live with whatever w2k lacked that got me back to XP, but I think
all my internet, file access, EDA app programming... everything
except that which won't run on Linux/WinE belongs on Linux or BSD.
<window smashing>
^ Absence of "/" indicates "never ending"
--
Best Regards,
Mike

 

[Rich Grise]

On Thu, 07 Apr 2005 07:00:02 +0000, Active8 wrote:

On Thu, 07 Apr 2005 04:46:49 GMT, Ban wrote:

Rich The Newsgropup Wacko wrote:
Yup! Amazing!

Gonna go put my name in the script now...

Hey Rich,
what is this "Pan" you are using?

Hi Ban:

It's his news reader. http://pan.rebelbase.com You have to look toward the
bottom of the downloads/build/whatever page to find the windows build. I'm
still evaluating it little by little.

window smashing
The windows build isn't as current as the Linux type OS builds, so...
well, I don't need much to know which OS rules. Leaving a Linux file
server running on an old Pentium 90 MHz for months without rebooting tells
me all I need to know. Sure I can leave XP running for a month, but things
get goofy... like no ftp. And when Explorer and other OS components crash
on OS shutdown... Maybe I can live with whatever w2k lacked that got me
back to XP, but I think all my internet, file access, EDA app
programming... everything except that which won't run on Linux/WinE
belongs on Linux or BSD. <window smashing
^ Absence of "/" indicates "never ending"

I periodically have to reinstall W2K on my dual-boot machine. The viruses
are so bad these days that I don't even plug in the ethernet cable until
I've got the installation done, the driver installed, and the interface
disabled. I've got one direct connection, that I'm using now, and another
to the company file server, which has a firewall that's blocking almost
everything there is. So I can get to the server in Doze, but it doesn't
even know that the internet is there, so it seems safe, so far. ;-) I
primarily use W2K for Autocad, Minesweeper, Solitaire, Mr.Do!, and Bubble
Bobble. ;-) And one day I'm going to plow into installing and configuring
XMame. Now, where'd I leave that round tuit?

Cheers!
Rich

 

[Active8]

On Sat, 09 Apr 2005 15:52:47 GMT, Rich Grise wrote:

On Thu, 07 Apr 2005 07:00:02 +0000, Active8 wrote:

On Thu, 07 Apr 2005 04:46:49 GMT, Ban wrote:

Rich The Newsgropup Wacko wrote:
Yup! Amazing!

Gonna go put my name in the script now...

Hey Rich,
what is this "Pan" you are using?

Hi Ban:

It's his news reader. http://pan.rebelbase.com You have to look toward the
bottom of the downloads/build/whatever page to find the windows build. I'm
still evaluating it little by little.

window smashing
The windows build isn't as current as the Linux type OS builds, so...
well, I don't need much to know which OS rules. Leaving a Linux file
server running on an old Pentium 90 MHz for months without rebooting tells
me all I need to know. Sure I can leave XP running for a month, but things
get goofy... like no ftp. And when Explorer and other OS components crash
on OS shutdown... Maybe I can live with whatever w2k lacked that got me
back to XP, but I think all my internet, file access, EDA app
programming... everything except that which won't run on Linux/WinE
belongs on Linux or BSD. <window smashing
^ Absence of "/" indicates "never ending"

I periodically have to reinstall W2K on my dual-boot machine. The viruses
are so bad these days that I don't even plug in the ethernet cable until
I've got the installation done, the driver installed, and the interface
disabled. I've got one direct connection, that I'm using now, and another
to the company file server, which has a firewall that's blocking almost
everything there is. So I can get to the server in Doze, but it doesn't
even know that the internet is there, so it seems safe, so far. ;-) I
primarily use W2K for Autocad, Minesweeper, Solitaire, Mr.Do!, and Bubble
Bobble. ;-) And one day I'm going to plow into installing and configuring
XMame. Now, where'd I leave that round tuit?

My advanced woodworking teacher asked when I was going to sand down

my chess board. My answer prompted him to chuck up a keyhole saw and
he wrote "round to it" on the offal.

When you say, "the company", to whom are you referring. What do you
do?

I read the other day that Pan is one name for the Wiccan god and
goddess. Interesting.
--
Best Regards,
Mike

 

[John Woodgate]

I read in sci.electronics.design that Active8 <reply2group@ndbbm.net>
wrote (in <d3ab87.3uk.1@active8.fqdn.th-h.de&gt about 'just had to try
this one more time', on Sun, 10 Apr 2005:

I read the other day that Pan is one name for the Wiccan god and
goddess.

Pan is a god who is in the Greek pantheon but may even be older than
Wiccan. He is a god of animals, especially sheep and goats, and is
usually shown as a sort of anthropomorphic goat. He has both kindly and
not so kindly attitudes to humans and invented the 'Pan pipes' - a set
of pipes that play the 'primitive' 5-note scale.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk

 

[Active8]

On Sun, 10 Apr 2005 10:31:47 +0100, John Woodgate wrote:

I read in sci.electronics.design that Active8 <reply2group@ndbbm.net
wrote (in <d3ab87.3uk.1@active8.fqdn.th-h.de&gt about 'just had to try
this one more time', on Sun, 10 Apr 2005:

I read the other day that Pan is one name for the Wiccan god and
goddess.

Pan is a god who is in the Greek pantheon but may even be older than
Wiccan. He is a god of animals, especially sheep and goats, and is
usually shown as a sort of anthropomorphic goat. He has both kindly and
not so kindly attitudes to humans and invented the 'Pan pipes' - a set
of pipes that play the 'primitive' 5-note scale.

The pentatonic scale is still used today in modern music.
--
Best Regards,
Mike

 

[John Woodgate]

I read in sci.electronics.design that Active8 <reply2group@ndbbm.net>
wrote (in <d3b37k.2m0.1@active8.fqdn.th-h.de&gt about 'just had to try
this one more time', on Sun, 10 Apr 2005:

On Sun, 10 Apr 2005 10:31:47 +0100, John Woodgate wrote:

I read in sci.electronics.design that Active8 <reply2group@ndbbm.net
wrote (in <d3ab87.3uk.1@active8.fqdn.th-h.de&gt about 'just had to try
this one more time', on Sun, 10 Apr 2005:

I read the other day that Pan is one name for the Wiccan god and
goddess.

Pan is a god who is in the Greek pantheon but may even be older than
Wiccan. He is a god of animals, especially sheep and goats, and is
usually shown as a sort of anthropomorphic goat. He has both kindly and
not so kindly attitudes to humans and invented the 'Pan pipes' - a set
of pipes that play the 'primitive' 5-note scale.

The pentatonic scale is still used today in modern music.

Hence the quote marks around 'primitive'. It does predate Pythagoras.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk

 

[Roger Johansson]

John Woodgate wrote:

The pentatonic scale is still used today in modern music.

Hence the quote marks around 'primitive'. It does predate Pythagoras.

I have learned to play guitar twice in my life.

The first time I learned classical spanish guitar pieces from sheet
music.
I got bored and the guitar was hanging on the wall for many years.

6 years ago my doctor gave me quinine for some reason, and my mind
became very stressed up. I dusted off my stereo and played music day
and night, and started playing guitar again.

This time I didn't care if I played right or wrong, I didn't play to
impress anybody, I played just because I had to soothe my soul.

I tried all tones and some of them sounded right and some sounded
wrong, in relation to the music I played on my stereo.

I didn't learn scales this time, I discovered scales. By playing many
tones per second I could try which tones fit in before they changed
chords in the music I played. I found the major
scale, but tone 4 and 7 were not reliable, they had to be sharped
or lowered sometimes. So I started to avoid the 4th and 7th tone, and
found that I could play along with any kind of music.

I had discovered the pentatonic scale, they were my 5 safe tones.

After two years of that kind of playing for no reason I had reached my
goal, I could improvise to any kind of music for as long as I liked. I
had always wondered how the rock guitarists could do that, and that's
how you can learn it. If you have nothing better to do.

I had a lot of stress, both from the medicine and for social reasons.
And I didn't care about anything anymore.
Just like stoned young rock guitarists trying to drive their mothers
crazy. I lived alone in the forest, so I only disturbed myself.


--
Roger J.

 

[Reg Edwards]

Roger, a very nice musical story from a music lover.

 

[Roger Johansson]

Reg Edwards wrote:

Roger, a very nice musical story from a music lover.

That was the short version, here is a longer version in two messages,
quoted from googlegroups, wrote them years ago:
....

I tried to learn to play the guitar when I was young, but I used the
same method you are trying to use, and it didn't work very well.

Later in life I found another way to learn and that worked much better.
I can tell you how.

Put your favorite music on your stereo and play along, and make sure
the volume of your instrument is just as loud as the music.

Try all tones, play very fast so you have time to try many tones.
Fake it, pretend you know how to play, and push whatever keys you like.
You will hear that some tones sound false, others sound in harmony with
the music.
Play the same song over and over again, hundreds of times, and you will
soon learn what tones fit in and which don't.

Note the pattern of the tones that fit in, they form a scale.
Some tones fit in even better and more often than the others at each
moment in the song. They are the chord tones.

Start improvising along with the music, move from one chord tone to
another with the help of the scale tones, and sometimes a halftone fits
in too in a transition between two chords.

Soon you will feel secure enough to play along with that song without
having to think about scales and chords.

Then take another song and do the same with that.

That is the really useful way to learn to play, and you'll learn to
improvise as much as you like too.

The trick is in not being afraid of playing wrong, in fact, the more
you try to do wrong on purpose the more you learn about what
tones fit in and not.
And play fast, try many tones, that will both help you get fast fingers
and let you find the scales and chords you need to know by heart, not
learned from a book.

Turn the lights in the room down low, so you learn to play without
seeing what you are doing, that will help you one day when the lights
go out on stage and other musicians panic. It won't bother you,
because you learned to play in the dark.

Other musicians will panic when then have no sheet music or chords. You
don't care, you have learned to find out the chords and scales very
fast all by yourself and can do it in split seconds while you hear a
new song.

And for Gods sake, use headphones, don't torture your neighbors with
all the noise you are going to produce the first year.
You may need a mixer to mix the music and your instrument into the same
stereo sound picture. Most computer sound cards have such a mixer.

By the way, music is just noise with some structure, some rythm
structure and/or some harmonic structure.
Start by making pure noise, and add some structure here and there.
Don't be afraid of making noise and you will learn how to make music.

After you have learned to play in this way, read some books about
chords
and scales, that will confirm a lot of what you have discovered by
yourself, and give you some new ideas too.


--
Roger J.

 

[Roger Johansson]

Reg Edwards wrote:

Roger, a very nice musical story from a music lover.

I learned a lot about music a few years ago, and wrote a text to
explain things to myself. It is written in a very compact style, and
probably far too advanced for a beginner, but it contains a lot of
useful knowledge. It is most directed at guitar players but should be
useful for others too.


Music Theory


This is very advanced theory expressed as simple as possible.
I have tried to find the easiest possible approach and remove
everything which was not necessary.
Read only the easy parts to begin with.


Harmony and rythm are the two basic areas of music, where order
and disorder harmonize in an eternal dance of patterns and chaos.


1: Harmony (the guitarists left hand)


As a beginner you should learn some simple chords and play around
with the basic major scale.
Play along with the radio or cd-player and try all tones until
you find tones which sound good. (play very fast and try all tones)
Learn to find what major scale fits at the moment.
You don't have to worry about minor scales, because every minor
scale is identical to a major scale in another key.
Somewhere on the fretboard there is a major scale
which fits every moment in every song you hear on the radio.
If you're fast enough you'll find it


I have done that for a year now on my guitar.
I call it "mindless bulk training".
It has given me fingerspeed and I have discovered "safe tones",
(which I later found out forms the pentatonical scale).


Now I need more theory to learn more advanced playing,
so I put together this textfile from different sources.
This will be my guide for further development.


There are lots of tab-files and midifiles on internet
which are very helpful, if you can use them in a sequenser.


Chords and Scales Programs are easy to find for your PC-computer.
get the "super guitar chord finder" from:
http://leden.tref.nl/cdvisser
nutcho32.exe hendrixd.exe are also nice.


But you need some musical theory to use those Scales.
This text is that theory in very condensed form.


The most usual scales and suitable chords:


(Chords and scales are here written in C, but
can of course be transposed to any key)


C D E F G A H
1 2 3 4 5 6 7
Basic C-major scale, to be played over C C7 or C5 chord.
(C5=power chord=first and fifth tone in major scale, no third)
Happy bright sound.
Musical Styles: Rock, Country, Jazz, Fusion
Chords: Major, Major Sevenths, Major Ninths, Elevenths


1 2 3 5 6
Major pentatonic, to be played over C, C5 ,country, country rock


1 b3 4 5 b7
Minor pentatonic Scale, over Cm Cm7 C5, Rock Hendrix Clapton
Description: A Bluesy sounding scale
Musical Styles: Blues, Rock, Heavy Metal, Jazz, Fusion
Chords: Minor, Minor Sevenths, Dominant Seventh


1 b3 4 b5 5 b7
Blues scale, over Cm Cm7 C5, Blues
The Blues Scale is derived from the Minor Pentatonic Scale. It has an
added #4th (=b5). This note gives the scale a bluesy feel. Apart from
that one note it is the Minor Pentatonic Scale


1 2 3 #4 5 6 7
Lydian over C C7 C5,
Jazz, Fusion, Rock, Country,Joe Satriani, Steve Vai
This is the major scale with a sharp 4th note
(trick: play C-major scale over F F7 F5, to get lydian scale in F)


1 2 3 4 5 6 b7
Mixolydian over C C7 C5, Bluesy sound, Rock-n-Roll
This is the major scale with a flat 7th note
Musical Styles: Blues, Country, Rockabilly, and Rock
(trick: play Cmajor scale over G G7 G5)


1 2 b3 4 5 6 b7
Dorian over Cm Cm7 C5, Blues, Carlos Santana
Jazz, Fusion, Blues, and Rock
(trick: play C-scale over Dm Dm7 D5)


1 2 b3 4 5 b6 b7
Natural Minor (=relative minor)= Aeolian.
Aeolian over Cm Cm7 C5, Rock, Heavy Metal
Pop, Blues, Rock, Heavy Metal, Country, Fusion
(trick: play C-scale over Am Am7 A5)(=Natural Minor)


Less usual Scales:


1 b2 b3 4 5 b6 b7 Strange and eerie sound.
Phrygian over Cm Cm7 C5, Yngwie Malmsteen, Al di Meola
Spanish Flavor Flamenco, Fusion, Speed Metal
(trick: play C-scale over Em Em7 E5)


1 2 b3 4 5 b6 7
Harmonic Minor, over Cm C5, Evil sound, Yngwie Malmsteen


1 b2 b3 4 b5 b6 b7
Locrian over Cm7b5 or diminished triad,
Sounds Sinister. Jazz, Fusion
(trick: play C-scale over Bm7b5-chord)


1 2 b3 4 5 6 7
Melodic Minor over Cm C5
(ascend with Melodic Minor and
descend with Natural Minor (Aeolian)


1 2 b3 4 b5 b6 6 7 (yes, eight tones)
Diminished Scale, over B B7 Cdim, Eerie sound


1 b2 b3 3 4 5 b6 b7 Flamenco
This is Phrygian with added 3.
Chords Cm C5 ?


---Trick explained:
So guess what... Many of the modes listed above use the same
patterns!! The only difference is where the root note is... You just
follow the same pattern but use a different root note.
(this works on guitar but not so much for keyboard)


So you can be using one pattern and it is really several different
modes in different keys. For example: The E major scale follows the
same pattern as the F# Dorian mode. The only difference is where the
Root note lies and what notes to rest on in your licks.


Notice the chords for the dorian mode are Minor, Minor Sevenths, and
Minor Ninths. Also notice that the chords for the major scale are
Major, Major Sevenths, Major Ninths, and Elevenths. In other words you
can use and E major, major 7th, etc. chord with the E major scale, and
you can use F# minor, minor 7th, and minor 9th chords with the F#
Dorian Mode. But remember the E major scale is also the F# Dorian Mode
(Just a different root note)... So you can use all of those chords
with the F# Dorian Mode and the E major scale. That's 7 different
chords that you can use. But don't forget that there are several other
modes to get chords from for a grand total of... 20 different chords
that can be played with one pattern!!
---


For transposing chords and scales between different keys
you might find this table helpful.


Major Scale Note & Degree Chart
Scale I II IX III IV XI V VI XII VII I (octave)


1 2 3 4 5 6 7 1
C D E F G A B C
C# D# F F# G# A# C C#
D E F# G A B C# D
D# F G G# A# C D D#
E F# G# A B C# D# E
F G A A# C D E F
F# G# A# B C# D# F F#
G A B C D E F# G
G# A# C C# D# F G G#
A B C# D E F# G# A
A# C D D# F G A A#
B C# D# E F# G# A# B


Example: If you want to transpose a song in C to E:
Use the horizontal lines beginning with C and E.
For every chord in the song, find the chord root in the C-line
and find the corresponding root in the E-line.
The type of chord remains the same, a C7 becomes a E7,
a Am7 becomes a C#m7 etc..
To transpose the tones in the melody or a scale from C to E:
For every tone find it in the C-line and find the corresponding
tone in the E-line. G becomes B, E becomes G# etc..


Remember: Db=C#, Eb=D#, Gb=F#, Ab=G#, Bb=A#.
---


Using Suspended Chords


The neat thing about suspended 4 chords is that they are made up of
this formula: I-IV-V. Now you're asking what this means. I'll tell you
by showing you the degrees for the major scale (below) and the minor
scale (below). Notice how the I, IV, and V degrees all have the same
notes.
Now, let's look at what we have learned in earlier lessons... The C
major chord has the notes C, E, and G. The C minor chord has the notes
C, D#, and G. Notice that the difference is in the third degree (2nd
note shown). Also notice that D# is a half step below E that means
that all you have to do to change a major chord to a minor chord is to
lower the third degree a half step. This third degree tells whether a
chord is major or minor. Now, you're wondering... How does this apply
to suspended 4 chords? Here's how. suspended 4 chords are chords that
have the fourth degree instead of the third degree. Therefore nothing
determines whether the chord is major or minor. IT'S NEITHER.


Now here is what you can do with an suspended 4 chord. You can use it
as a common chord for use with major and minor scales. You can also
use it to make a smooth transition from a major scale to a minor
scale. But all in all, it's just an extremely versatile and nice
sounding chord.


Note: I did not say this in the chord construction lesson, but minor
chords can be formed by taking the I-III-V degree notes from the minor
scale (aeolian mode).


The C Major Scale
I II III IV V VI VII
C D E F G A B


The C Minor Scale (D# Aeolian Mode)
I II III IV V VI VII
C D D# F G G# A#


You can do the same thing with Suspended 2 chords. The only difference
is that you use the II degree instead of the IV degree.


----


Improvising with these scales and chords:


Remember to end licks on a tone which is part of the chord over
which the scale is played, or stress those tones.
Use the scale to get to and from the chord tones.
Accent or hold the root note of the chord longer
if you want to emphasize the tonality
Avoid using the lydian mode and accenting the IV degree note
while playing over I chords. It tends to sound dissonant (clashes
some).


or


Now that you have studied the relationship of the chord tones to the
scale pattern you should try soloing with these notes for that bluesy
feel that you get from playing the Mixolydian mode. Sound Hard?? It
really isn't, all you have to do is think of the chord tones. Play the
chord tones which appear in the scale. Use the other scale tones that
are not chord tones as links to get a smooth transition from one chord
note to the next. Try using slides, hammer-ons, and trills from a
scale note to a chord note. This will bring out the flavor in the
chords. I really like hitting on the I chord's (G7) 3rd degree note,
in this case it's B. It has a bluesy sound that the Mixolydian Mode
and Dominant 7th chords really bring out.


This next section will compare G7's chord tones to the G Blues Scale,
and it will show you why the Mixolydian mode fits a little bit better
because the Mixolydian mode contains all of the chord tones. the Blues
Scale however omits a couple notes, but it doesn't leave any bad notes
for you to hit. Let me show you...


G7 = 1 3 5 b7
C = E G Bb


The G Blues Scale
1 b3 4 #4 5 b7
G Bb C C# D F


As you can see the Blues Scale only contains the root and the flatted
7th note. So now the question is why do you use the Blues Scale? I'll
show you with more charts. What you want to notice is that the chord
tones for G7, C7, and D7 put together form the MinorPentatonic Scale,
which is the Blues Scale without the added #4 which is the only note
that is not contained in any of the chords.


G7 = 1 3 5 b7
G B D F
C7 = 1 3 5 b7
C E G Bb
D7 = 1 3 5 b7
D F# A C


The G Blues Scale
1 b3 4 #4 5 b7
G Bb C C# D F


The next question I see coming is why use the Blues Scale when it only
adds a note that is not included in the Minor Pentatonic Scale?
Answer: The Flat-Five Substitution.


The flat five substitution is a chord that you can use as a substitute
for any dominant chord. It applies very nicely to the 12 Bar Blues,
because of the use of Dominant 7th chords. Enough chit chat, lets get
to the facts.
When you play a dominant chord there will always be a chord that you
can substitute for it and still hace it sound good. That substitute
chord is a diminished 5th above the the original chord. So if you are
playing an E7, the substituted note would be Bb7. It is called a
Flat-Five Substitute because if you are in the key of E the V note is
B, and the bV is Bb hence the name Flat-Five.


The Flat-Five chord substitutes so nicely because of the notes which
are contained in the original chord and the Flat-Five chord. Let's
look at the notes in each chord.


E = 1 3 b7
E G# D
Bb7= 1 3 b7
Bb D G#


If you will notice, the 3 note and the b7 note are the same notes but
switched around the chords. That is why the chords can be substituted
for each other.
The reason that the notes are the same is because the interval between
the 3 note and the b7 note is a diminished 5th (also called the
tritone). The neat thing about the tritone is that it divides the root
note and octave in half. In other words, It is the same distance from
the root note as it is from the root note's octave. This is why you
can get the same notes for both chords. Because all dominant chords
(7th, 9th, or 13th) must contain the 3 and b7 notes, this subtitution
process works every time.


Another great thing about this substitution process is that you do not
have to substitute a Dominant 7th chord for a Dominant 7th chord. You
can substitute any dominant chord for any other dominant chord. For
example you can substitute a Bb13 for a E9 chord.


For even more possibilities, you can substitute a dominant chord with
a flat-five note added. For example, you can substitute an E13b5 for a
E7, or you can substitute a Bb13b5 for an E7. You can do this because
Bb and E are tritones of each other. In other words, they are a
diminished 5th from each other so the note that is a b5 of Bb is E,
and the note that is a b5 of E is Bb. If you did not know it already,
this is the reason that the blues scale has a #4/b5 note added to it.


This lesson should really broaden your playing vocabulary. It will
really help you if you are a jazz or blues player who uses a lot of
Dominant chords.


----


Jazz Progressions are based on a II-V-I progression. The II-V-I sounds
the jazziest with seventh chords. As you already know from past
lessons, the II chord is a minor chord, the V chord is a dominant
chord, and the I chord is a major chord. So the most basic Jazz
progression is the II minor 7 - V dominant 7 - I major 7. Let's look
at it in the key of C. The chords are D minor 7 - G7 - C major 7.
These are the main chords of the progression.


----


Resolving


Resolving is a way to lead songs back to the tonic or root. It can be
applied to single note applications, or it can be applied to chord
progressions. If you don't already know, the 7th degree is also called
the Leading Note because it leads back to the tonic. The leading note
is a half step from the tonic, so when you resolve, you use half
steps. In single note applications it is pretty easy because you just
have to think to play from one fret down back to the tonic. When you
play with chord resolutions it gets a bit more complex.
Whenever a chord progression is being played, you are always trying to
resolve back to the tonic. Not every chord resolves directly to the
tonic, but they will resolve indirectly. Let me show what chords
resolve directly to the tonic.


Chords that Resolve Directly to the Tonic
The chord that resolves to the tonic the best is formed from the 5th
(V) degree of the scale. The reason that this chord is the best is
because it contains the leading note (7th degree). In the Key of C, B
is the leading note because it is the note before C. Look at the chart
below.


C Major Scale
I II III IV V VI VII Octave
C D E F G A B C


C Major Notes
C E G


G Major Notes (V chord)
G B D


The Dominant Chords formed from the 5th degree resolve better than the
plain major chord because the b7 note that is added in dominant chords
resolves to the third of the tonic (in this case it is E), and the B
is still in the chord to resolve to the C. Look at the chart to see
the notes.
C Major Notes
C E G


G7 Notes
G B D F


Because the V chord resolves so nicely to the tonic (I chord), many
songs end with this progression because it is such a strong ending for
songs.
The diminished 7th chord also resolves nicely to the tonic because it
is formed from the leading note (B). In the key of C, the diminished 7
is B diminished 7 which contains the notes B, D, F, G#. This is
resolves nicely to the tonic because the B resolves to the C (and Bb
if you are playing a C7), the F resolves to the E, and the G# resolves
to the G. Look at the chart below.


C7 Notes
C E G Bb


B Diminished 7 Notes
B D F G#


The III chord will also resolve to the tonic. Just remember that it is
minor when you play it. It resolves best with just a plain minor chord
to a I major chord.
-------


Chords that Resolve Directly to the V
The II chord resolves directly to the V chord (and therefore
indirectly to the tonic) because the II chord is the 5th degree from
the V. In other words it is the dominant of the dominant. If you took
the V chord (G) and wrote out its major scale the 5th degree of that
scale (G major scale) is the same as the II chord (in this case it is
D). This is where we get the II-V-I Jazz Progression.
The IV chord also resolves nicely to the V chord but not as well as
the II chord. This is where we get the chords of the 12 bar blues
(I-IV-V).


-----
Other Chordal Resolutions
The VI chord resolves to the II chord because the IV chord is the
dominant of the II chord (just like the II is the dominant of the V).
Remember that the II and VI chords are minor chords.
---


Transitional chords:
Remember that when you play several chords in sequence you are
actually playing several melodies at once.
All these melodies should sound good together,
and form a transition from one basic chord to the next.
Inbetween basic chords these melodies can form transitional chords,
which can look very strange. It doesn't matter how strange they
look as long as the transition sounds good.


---


2: Rythm (the guitarists right hand)


Jump around like a crazy hen on the strings with your right hand.

Rythm is a compulsory cyclic movement
Imprisoned animals often start to move from side to side,
or back and forth, probably to stimulate their nervous system
to counteract the lack of stimuli in an environment which does
not allow natural movement.

That is actually exactly what rythm is all about.

If you want to move to the music, or make your own music, just
imagine you are imprisoned and want to move freely, but there are
hinders, so you just move back and forth within the confined space.

Feel a little desperat if you want more energy.

Cyclic movements have a soothing effect on the nervous system.

Both harmonies and rythms have to be within certain limits to be
enjoyable to others.

So, good music is music which is regular enough to recall structures
in the recievers brain, but unregular enough to be interesting.

Techno music is often on the border of beeing too regular for most
people.
It becomes boring and uninspiring.
Karl Heinz Stockhausens music is at the other border, it is so
irregular
it sounds like only random noise to a lot of people.

If you just want to dance for your own sake it doesn't matter how you
dance, just move.

If you want to be a musician start trying all kinds of cyclic
movement.

There are some tricks to develope your dance.
If movements become boring, start complicating.
If it becomes too wild make it simpler.

Train a lot. Play music you like and move.

If you want to be a composer, remember to mix old with new, known
patterns and new patterns.

Use the drum editor in a sequenser to experiment with rytms.


--
Roger J.

 

[Roger Johansson]

Found another text, about keyboards this time:

It is easy to learn to play the piano. It is just as with computers,
it is just a matter of how much time you spend at the
keyboard.

Try my method if you like:
Play your favorite music on your stereo, loud.
Play your keyboard at the same volume level, so you can hear both the
music and your own playing equally good.
Play as many tones per second as possible, any tones.
Play rythmic or non-rythmic, anyway you like.
Try all kinds of patterns you can imagine.
This will also help you control your fingers and become faster.

If you can play ten notes per second your ears will be able to compare
all these ten tones to the current music.
After a short while you will hear a tone here and there which sounds
like it fits into the music.
Keep on playing fast and you will find more tones, you will start to
recognize patterns of tones which fit into the music.

The patterns are changing second for second in most music, so there
will be different patterns at different times.
You will find scales and chords on the keyboard.

Beside this random fast playing you can also learn chords, scales and
melodies from courses on the web.
The experiences from your practical playing will help you understand
the theory of music.

Another good method is to "fake". It means you think of a rythm or a
song, and start playing it even though you have no idea how to.
Get the rythm first, and find the notes later. Use any notes to begin
with. Or use the patterns you have found through fast playing, or from
a course on chords and scales.
Even though this will sound terrible to some people,( let the cat out
of the house before you begin), you should put as much expression as
possible into your improvised music, imagine you are the great
pianoplayer who knows exactly what he is doing. Experiment with
dynamics, weak tones and strong tones. Experiment with rythms.

....
The most important of all is that you are having fun at the keyboard.

Music is just about making noise, structured noise.

The structure can be rythmic and/or tonal.

Most people are a little afraid of making noise. In our closeliving
society we must think about our family and neighbors.
But electronic instruments have the advantage that you can use
headphones and make as much noise as you like.

When I was younger I learned to play spanish classical pieces on the
guitar, but it was a little boring.

I took music far too seriously.
It was too much work and too little fun.
I also had other interests so I did not have so much time for music.

When I started to play again a few years ago I did it in a completely
new way. Like I described in my last message in this thread I am just
having fun fooling around with sounds.

I can spend hours just making noise together with my favorite music,
which I have in a jukebox program in my computer.
I use mostly midi, but also some mp3 and wav files.

It takes a lot more time, but I learn in a different way, I feel much
safer and have more fun and now I would not hesitate getting up on a
stage even if I do not know what the others want to play.

After hundreds of hours of fooling around I now know I can play along
with anything and enjoy it.

There are a lot of music lessons and theory available on the web.
Search for "chords scales music lesson course keyboard" for example
and you will find such sites.

Some music theory:
In most music modern there is always a current chord, and against the
background of that chord we use a suitable scale for the melody.

Learn the major scale, which you will find by trying tones.
The major scale also fits minor songs, you just change what tones to
stress and which tones to avoid.

You will soon realize that the fourth and the seventh tone are
problematic, they fit in sometimes and don't fit in at other times.
If you avoid those tones you get the pentatonic scale, which is much
used in blues for example.

You can try improvising and composing new songs.
Choose which chords to use.
Try little melodies in the scale which fits to the chords.
Start every little melody sling on a tone in the current chord and end
on a tone in the same chord, or in the next chord, if it is time to
change chord.
Stress the chord tones more than the other tones in the scale.
Use the other tones as transition tones.

For example if we use A minor, which is the same scale as C major, the
white keys on the keyboard.
The tones of the A minor chord are A C E.
A little melody sling can start on E, fool around a bit on the C major
scale and end on A.
After some beats you can end a sling on E and change chord to E7.
Make some slings in the scale of E7, stress the seven just before
going back to A minor.
(remember that the 7 in a 7 chord is always lowered half a step)

And suddenly you are a composer, nice huh?

To me music is not about right or wrong, it is about making noise and
having fun.

When I was younger I thought like that too, I learned and trained to
"do it right", but I have changed my mind about music somewhere along
the way. It was boring and limiting to always be afraid to get it
"wrong".
So I started from the beginning again a few years ago.
Now I play to amuse myself and I don't give a damn what others think
about it. And I have learned a million times more about music this
way.
Instead of "learning" music I have "discovered" it through fooling
around with patterns and rythms for many hundreds of hours.

It takes a lot of time to learn music this way, and some might think
it is a waste of time. You could learn more faster with some more
structured method.
I guess those people are trying to save time making love as fast as
possible too ;-)

Time flies when you are having fun.

That is why people should be able to do what they feel like, and not
let other forces or ambitions control their lives.


--
Roger J.

 

[Paul Burke]

John Woodgate wrote:

the 'Pan pipes' - a set
of pipes that play the 'primitive' 5-note scale.

Pan pipes are not necessarily pentatonic- google for Zamfir.

Paul Burke

 

[Rich Grise]

On Sun, 10 Apr 2005 08:59:57 +0000, Active8 wrote:

On Sat, 09 Apr 2005 15:52:47 GMT, Rich Grise wrote:
...
My advanced woodworking teacher asked when I was going to sand down my
chess board. My answer prompted him to chuck up a keyhole saw and he wrote
"round to it" on the offal.

When you say, "the company", to whom are you referring. What do you do?

It's a machine shop/fab/weld shop, and I'm the "consulting engineer." I
do tooling drawings and am the Sys Admin for a small (~6 computers) LAN.
And when there's no work, I don't have to panic, because I live in an RV
parked in their parking lot. So I annoy people on USENET and play video
games, but not simultaneously. ;-)

I read the other day that Pan is one name for the Wiccan god and goddess.
Interesting.

Pan is also another name for "The Land of Pan", or Pangaea, which is
what was left when Atlantis blew up.

Cheers!
Rich

 

[John Woodgate]

I read in sci.electronics.design that Rich Grise <richgrise@example.net>
wrote (in <pan.2005.04.11.18.35.51.90085@example.net&gt about 'just had
to try this one more time', on Mon, 11 Apr 2005:

Pan is also another name for "The Land of Pan", or Pangaea, which is
what was left when Atlantis blew up.

The real Pangaea was the single land-mass that appears to have existed
about 500 million years ago and which split up in stages into the
continents that we know today.

Atlantis, if it existed, was much more recent. It's not impossible,
considering the descriptions of its geography, that it was a tsunami
victim, rather than sinking beneath the sea, but it's not clear whether
any known event could have caused such a tsunami in the western Atlantic
or Caribbean.

Santorini would have caused one, no doubt, but could a tsunami thread
the Pillars of Hercules without losing most of its energy?
Superficially, it's a good candidate; it happened in 1650 BCE, in the
misty age when history and myth are inextricably mixed. It also involves
a (HUGE!) explosion, followed, of course by a local inundation, but
there doesn't seem to be any evidence of an advanced Mediterranean
civilization being extinguished by it. And Atlantis was always regarded
as alien and mysterious, not just another local race of islanders, and
the land was located far to the west of the 'known world'.
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk

 

[Ken Taylor]

"Roger Johansson" <no-email@no.invalid> wrote in message
news:4259b16e$0$79457$14726298@news.sunsite.dk...

Found another text, about keyboards this time:

It is easy to learn to play the piano. It is just as with computers,
it is just a matter of how much time you spend at the
keyboard.

Reminds me of the Python sketch:

http://arago4.tn.utwente.nl/stonedead/crosslinks/tv-series/sketches/fc-28/how-to-rid-the-world-of-all-known-diseases.html

Ken

 

[Paul Burke]

John Woodgate wrote:

Santorini would have caused one, no doubt, but could a tsunami thread
the Pillars of Hercules without losing most of its energy?

There's been much speculation that the name could have applied to
another place, perhaps in the Aegean, prior to the eruption. Plato, the
main source for the Atlantis myth, was writing over a thousand chaotic
years later, and in any case, his story was a moral tale, not even meant
as a history.

Paul Burke

 

[John Woodgate]

I read in sci.electronics.design that Paul Burke <paul@scazon.com> wrote
(in <3c1c7pF6lkfbfU1@individual.net&gt about 'just had to try this one
more time', on Tue, 12 Apr 2005:

John Woodgate wrote:

Santorini would have caused one, no doubt, but could a tsunami thread
the Pillars of Hercules without losing most of its energy?

There's been much speculation that the name could have applied to
another place, perhaps in the Aegean, prior to the eruption.

Yes, Santorini itself (aka Thera). There doesn't seem to be any evidence
of a unique advanced civilization on Santorini, but the results of the
eruption may have overwhelmed the Minoan civilization on Crete, and that
was pretty advanced for its time. However, the time-scales seem to be
inconsistent, according to some archaeologists.

Plato, the main source for the Atlantis myth, was writing over a
thousand chaotic years later, and in any case, his story was a moral
tale, not even meant as a history.

Yes, Plato is the main source, but there are others. Some associate the

unique Basque language with a lost civilization somewhere to the west of
Europe. (No, not the current lost civilization - we know where that
was!)(;-)
--
Regards, John Woodgate, OOO - Own Opinions Only.
There are two sides to every question, except
'What is a Moebius strip?'
http://www.jmwa.demon.co.uk Also see http://www.isce.org.uk

 

[Active8]

On 10 Apr 2005 20:23:15 GMT, Roger Johansson wrote:

John Woodgate wrote:

The pentatonic scale is still used today in modern music.

Hence the quote marks around 'primitive'. It does predate Pythagoras.

I have learned to play guitar twice in my life.

The first time I learned classical spanish guitar pieces from sheet
music.
I got bored and the guitar was hanging on the wall for many years.

6 years ago my doctor gave me quinine for some reason, and my mind
became very stressed up. I dusted off my stereo and played music day
and night, and started playing guitar again.

This time I didn't care if I played right or wrong, I didn't play to
impress anybody, I played just because I had to soothe my soul.

I tried all tones and some of them sounded right and some sounded
wrong, in relation to the music I played on my stereo.

I didn't learn scales this time, I discovered scales. By playing many
tones per second I could try which tones fit in before they changed
chords in the music I played. I found the major
scale, but tone 4 and 7 were not reliable, they had to be sharped
or lowered sometimes. So I started to avoid the 4th and 7th tone, and
found that I could play along with any kind of music.

The major (diatonic) scale, when I play it to a chord progression (
like I, IV, V) always sounds like country, so I don't use it. Those
accidentals you're playing would either make minor scales or another
mode of the diatonic - which is classical. There are typically 2
classical modes (forgot the names) used in metal like you'd hear
from Randy Rhoades[1], Judas Priest, groups along those lines.

I had discovered the pentatonic scale, they were my 5 safe tones.

After two years of that kind of playing for no reason I had reached my
goal, I could improvise to any kind of music for as long as I liked. I
had always wondered how the rock guitarists could do that, and that's
how you can learn it. If you have nothing better to do.

After years of not playing, I'm itching to get back into it. It's a
great stress outlet. I've actually gotten to the point where I can
write solos in my head, so I plan to learn the classical scale forms
from the rock guitar poster (the pentatonic form will never leave
me) and

I had a lot of stress, both from the medicine and for social reasons.
And I didn't care about anything anymore.
Just like stoned young rock guitarists trying to drive their mothers
crazy. I lived alone in the forest, so I only disturbed myself.

[1] Randy Rhoades (RIP) - Quiet Riot/Ozzy Ozbourne - Studied and
practiced classical guitar. His mother Delores was a music teacher.
He wrote the song "Dee" named after her and for one of Ozzy's
albums. That song took me about 10 hours to figure out back in the
day and I got a blister on the inside of my forearm from resting it
on my acoustic. It was worth it - nust relearn.

I also want to learn Segovia's and Esteban's versions of Maleguenia.
Segovia's blistering fast fretboard work and precision timing and
technique are truly phenomenal. I think I'll have a listen now.
--
Best Regards,
Mike