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Old 01-04-2012, 12:31 PM   #61 (permalink)
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you must hate my stuff then . . . LOL!
I compose polytonal and polyharmonic pieces and then work a melody into this chaotic soup using unequal tempered scales that move in & out of all the mayhem.
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Old 01-04-2012, 02:16 PM   #62 (permalink)
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If it sounds good it sounds good, I just don't like the practice of "soloing" over stuff, half the music becomes an afterthought and it nearly always sounds crudely slapped together, plus most of the time people oversimplify everything to give the melody more leeway, effectively restricting themselves to gain more freedom. As a means of pure experimentation by all means go for it, but as a method of composing music I don't give it much credit.
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Old 01-04-2012, 05:44 PM   #63 (permalink)
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I didn't understand a word of what y'all were saying.
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Old 01-04-2012, 07:09 PM   #64 (permalink)
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If it sounds good it sounds good, I just don't like the practice of "soloing" over stuff, half the music becomes an afterthought and it nearly always sounds crudely slapped together, plus most of the time people oversimplify everything to give the melody more leeway, effectively restricting themselves to gain more freedom. As a means of pure experimentation by all means go for it, but as a method of composing music I don't give it much credit.
huh? it's the crux of all improvisation

stuff that is composed with all the rules that you speak of lack that spontaneity

of course, you have to adhere to certain rules, when improvising over a chord structure, but it's mostly free-form

and the "passing chords" you mentioned, feel more like sub-dominants to me, the anchoring chords are still the diatonics
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Old 01-04-2012, 09:04 PM   #65 (permalink)
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Did ya'll go to a music school or did you teach yourself?
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Old 01-04-2012, 09:40 PM   #66 (permalink)
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Did ya'll go to a music school or did you teach yourself?
half-half

blues and rock are self-taught

i took jazz lessons, in improvisation and theory (never had a classical backing, though, i can only understand jazz theory)
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Old 01-05-2012, 02:09 AM   #67 (permalink)
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But those diatonic notes have no real bearing on the tonality as they aren't structural, if you follow the bass it makes a clear step wise decent towards the sub dominant then wraps itself around the dominant before leaping back to the tonic. The diatonic chords are passing between these structural points just as much as the non diatonic ones, calling it a passing chord with no context is just bad terminology.
it could be called a "turnaround" in blues, your ears will still focus on the diatonics
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Old 01-05-2012, 06:49 AM   #68 (permalink)
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Did ya'll go to a music school or did you teach yourself?
I'm 51 I've studied with loads of people including advanced theory and composition.
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Old 01-05-2012, 06:53 AM   #69 (permalink)
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Not to be a d*ck but are you guys kidding? Hendrix was a great blues guitarist .. he was a sideman way before he did his own thing. He was flashy yes but could he play blues? Hell yes he could. He was very advanced in a lot of ways and lots of his famous stuff is smoke and mirrors but I've heard recordings of him scaled down and killing it
he was a sideman to R n B acts

although Howlin' Wolf wanted to hire him and he said (quote) - "you guys play the real thing" - meaning he wasn't really into "authentic" blues
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Old 01-05-2012, 09:10 AM   #70 (permalink)
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huh? it's the crux of all improvisation

stuff that is composed with all the rules that you speak of lack that spontaneity

of course, you have to adhere to certain rules, when improvising over a chord structure, but it's mostly free-form

and the "passing chords" you mentioned, feel more like sub-dominants to me, the anchoring chords are still the diatonics
I didn't say anything about following rules to compose music. There are far better ways of using spontaneity in your works, if you have the ear and you can play directly from what's in your head why not compose melody and harmony as one single unit? if you can't then you're fumbling blindly at a few scales to play within a safe boundary of an already set harmonic progression.

I did say they were secondary dominants, I was against the idea of calling them passing chords.

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it could be called a "turnaround" in blues, your ears will still focus on the diatonics
You're not taking into account the voice leading, dissecting a phrase into separate parts and explaining them as if they exist in a vacuum goes against the idea of music analysis, it's listened to as an organic whole so why shouldn't it be analysed as an organic whole? Every chord even the diatonic ones are deviations from the tonic, a vi in A major could just as likely be a iii in D major applying functions to them is useless without looking at their place within the phrase.
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