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More from chipuni
Alandrian and I have been discussing basic music theory by private message. I realized that many ideas in music make little sense without HEARING them. This is a first lesson about the most basic scales (major, natural minor, harmonic minor, melodic minor, and jazz melodic minor).Enjoy!
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The minor 7th, as well -- but probably for a different reason.
I'm fascinated by alternate tuning, particularly just intonation. And the m7 (7th harmonic) equivalent is the first sound that really DOESN'T appear in Western music.
My favorite way to use it is a minor seventh BELOW the root, in a minor chord.
I'm fascinated by alternate tuning, particularly just intonation. And the m7 (7th harmonic) equivalent is the first sound that really DOESN'T appear in Western music.
My favorite way to use it is a minor seventh BELOW the root, in a minor chord.
Say, as you make this, consider using these as resources:
http://chordmaps.com/index.htm
http://www.thejazzresource.com/jazz_theory.html
http://www.musictheory.net/
http://chordmaps.com/index.htm
http://www.thejazzresource.com/jazz_theory.html
http://www.musictheory.net/
I always liked the tritone myself.
Yes, it's very dissonant and eerie-sounding but that's what makes it a favourite of mine, it's so different from the others. Add the fact that that it was thought before as a way to summon the devil...
Harder to make it sound good when actually writing music perhaps, but meh.
Yes, it's very dissonant and eerie-sounding but that's what makes it a favourite of mine, it's so different from the others. Add the fact that that it was thought before as a way to summon the devil...
Harder to make it sound good when actually writing music perhaps, but meh.
I found this completely useless.
You are under the impression that my problem is the fact that require examples of things which I hear. I can pick up on the melodies, and imitate them easily enough, but that's not what I want to learn. I already know how to play music; I want to know what other people uniformally name the things that I already know in my own language (or non-language).
A large part of the problem of this particular submission is because I can't hear what your tiny, quiet voice is saying most of the time (if that IS your voice....). Another problem is because you're going to quickly for me to be able to properly concentrate. A third problem is the fact that I don't "see" those sounds anywhere on any instrument that I would play (but I recognize combinations of notes that I have personally played many many times).
My problem is in fact that a great many of the more "advanced" terms in music are illogical, misleading, vague, and redundant. It completely disregards logic, reality, and common sense. Whoever named these terms also have no idea what the words that they used to describe them actually mean. The more I learn, the more I realize that there is a term for both everything and nothing; I have learned that there is a specialized term for the succession of notes, as well as the simutaneous combination of them (which use the same word, with either "melodic" or "harmonic" in front of it).
The nature of this terminology causes one to think that someone is wrong when he is correct, simply because they're just using different "languages", and have different points of view. An example of this is how the 8th note is the 1st note of the next octave.
I also have a "pet-peeve" with calling this "music theory". In what way is any of this theoretical? The more I learn, the more I clearly see how this is all already known. It's really "music theorums". Music "discoveries", "terms", "terminology", "patterns", "structure", "structures", and "theorums" are all far more appropriate names than "theory". I would like for you to explain to me why this is called "music theory", because I fail to understand why.
I've been picking up on the things you've been teaching me easily enough. I must have lead you to believe that I was somehow failing to understand these illogical terms, when I was merely complaining about the sheer stupidity of the wording. Given enough repetition and variety of ways to explain things, I can learn just about anything. But I'll still complain about how faulty the structures of those things are.
I would learn far more if you just gave me a written "glossary" of the transition of each and every one of these scales. (i.e. "whole, whole, half, whole, whole, whole, half", "whole, half, whole, whole, half, whole, whole", etc.)
An example of something that would help me greatly would look like this:
Natural Major: whole, whole, half, whole, whole, whole, half
Natural Minor: whole, half, whole, whole, half, whole, whole
Piano: To play softly.
Forte: To play loudly.
Legato: To play smoothly, switching to one note where the other left off.
Staccato: To play with rigid, robust movements, having noticeable stops between notes.
Of course, this list would include EVERYthing, particularly the things I DON'T know. And it would explain them in plain English, without using any specialized terms (unlike all those websites out there, that seem to believe that the best way to explain something is by using an unfamiliar language).
Also, I had imagined you as some kind of chubby, bespectacled, prissy, mustachioned college professor.
Now that I hear your voice, I imagine you as some sort of clean-shaven, "youthful" nerd/Josh Groban.
You are under the impression that my problem is the fact that require examples of things which I hear. I can pick up on the melodies, and imitate them easily enough, but that's not what I want to learn. I already know how to play music; I want to know what other people uniformally name the things that I already know in my own language (or non-language).
A large part of the problem of this particular submission is because I can't hear what your tiny, quiet voice is saying most of the time (if that IS your voice....). Another problem is because you're going to quickly for me to be able to properly concentrate. A third problem is the fact that I don't "see" those sounds anywhere on any instrument that I would play (but I recognize combinations of notes that I have personally played many many times).
My problem is in fact that a great many of the more "advanced" terms in music are illogical, misleading, vague, and redundant. It completely disregards logic, reality, and common sense. Whoever named these terms also have no idea what the words that they used to describe them actually mean. The more I learn, the more I realize that there is a term for both everything and nothing; I have learned that there is a specialized term for the succession of notes, as well as the simutaneous combination of them (which use the same word, with either "melodic" or "harmonic" in front of it).
The nature of this terminology causes one to think that someone is wrong when he is correct, simply because they're just using different "languages", and have different points of view. An example of this is how the 8th note is the 1st note of the next octave.
I also have a "pet-peeve" with calling this "music theory". In what way is any of this theoretical? The more I learn, the more I clearly see how this is all already known. It's really "music theorums". Music "discoveries", "terms", "terminology", "patterns", "structure", "structures", and "theorums" are all far more appropriate names than "theory". I would like for you to explain to me why this is called "music theory", because I fail to understand why.
I've been picking up on the things you've been teaching me easily enough. I must have lead you to believe that I was somehow failing to understand these illogical terms, when I was merely complaining about the sheer stupidity of the wording. Given enough repetition and variety of ways to explain things, I can learn just about anything. But I'll still complain about how faulty the structures of those things are.
I would learn far more if you just gave me a written "glossary" of the transition of each and every one of these scales. (i.e. "whole, whole, half, whole, whole, whole, half", "whole, half, whole, whole, half, whole, whole", etc.)
An example of something that would help me greatly would look like this:
ScalesNatural Major: whole, whole, half, whole, whole, whole, half
Natural Minor: whole, half, whole, whole, half, whole, whole
Other ThingsPiano: To play softly.
Forte: To play loudly.
Legato: To play smoothly, switching to one note where the other left off.
Staccato: To play with rigid, robust movements, having noticeable stops between notes.
Of course, this list would include EVERYthing, particularly the things I DON'T know. And it would explain them in plain English, without using any specialized terms (unlike all those websites out there, that seem to believe that the best way to explain something is by using an unfamiliar language).
Also, I had imagined you as some kind of chubby, bespectacled, prissy, mustachioned college professor.
Now that I hear your voice, I imagine you as some sort of clean-shaven, "youthful" nerd/Josh Groban.
If you want to know what things are called, but reject the terms because they don't fit with logic that pertains to a majority of other life things, I don't see where you're coming from. It's called just learning the terms and knowing what they mean.
I like to think the reason other people are able to learn these things is because they don't over analyze the terms through logic before(or even after) they have a grasp of what they actually are, like you seem to do.
With the music 'theory' bit, again, you're taking it further than it needs to go. We could call it "The Accumulation of music patterns, scales, terminology, and structures," but that is just messy during conversation. And since people like to think theory means an accumulation of ideas(pleeease don't go off about the real definition of theory, that's just a headache for everyone), then it's just called music theory, that's just the term, no conversation.
The same reason why you wouldn't call a chicken an "egg that has been incubated, hatched, and raised". Bad analogy thing, but you get the idea hopefully.
It's just easier to accept these terms mean such and such, and there isn't really any analysis. Make life easier on yourself.
I like to think the reason other people are able to learn these things is because they don't over analyze the terms through logic before(or even after) they have a grasp of what they actually are, like you seem to do.
With the music 'theory' bit, again, you're taking it further than it needs to go. We could call it "The Accumulation of music patterns, scales, terminology, and structures," but that is just messy during conversation. And since people like to think theory means an accumulation of ideas(pleeease don't go off about the real definition of theory, that's just a headache for everyone), then it's just called music theory, that's just the term, no conversation.
The same reason why you wouldn't call a chicken an "egg that has been incubated, hatched, and raised". Bad analogy thing, but you get the idea hopefully.
It's just easier to accept these terms mean such and such, and there isn't really any analysis. Make life easier on yourself.
that's just the term, no conversation.
It's a term that confuses the hell out of people who aren't familiar with it, and leads the people that ARE familiar with it to think that those words mean things that they don't mean.
I have the exact same pet-peeve with the English language. I should make an audio track of how I pronounce words, and upload it sometime.
I like to think the reason other people are able to learn these things is because they don't over analyze the terms through logic before(or even after) they have a grasp of what they actually are, like you seem to do.
That sort of mental laziness is exactly what makes most people so easily mind-controlled.
Make life easier on yourself.
I would if I could. But I can't, so I don't.
It's a term that confuses the hell out of people who aren't familiar with it, and leads the people that ARE familiar with it to think that those words mean things that they don't mean.
I have the exact same pet-peeve with the English language. I should make an audio track of how I pronounce words, and upload it sometime.
I like to think the reason other people are able to learn these things is because they don't over analyze the terms through logic before(or even after) they have a grasp of what they actually are, like you seem to do.
That sort of mental laziness is exactly what makes most people so easily mind-controlled.
Make life easier on yourself.
I would if I could. But I can't, so I don't.
A theory, is, in academic parlance, a collection of theorems. So calling this music theory is absolutely correct.
As for the names not following a good 'logical' pattern or something like that, you are badly mistaken.
The HARMONIC minor scale has been adjusted from the 'natural' minor to improve the HARMONIC sounds.
The MELODIC minor scale has been adjusted from the harmonic to improve the MELODIC sounds. The names make PERFECT sense.
Even if they didn't, language isn't logical, things are named for historical reasons, and musicians use the terms they do because those terms fit the system as it exists very well.
As for the names not following a good 'logical' pattern or something like that, you are badly mistaken.
The HARMONIC minor scale has been adjusted from the 'natural' minor to improve the HARMONIC sounds.
The MELODIC minor scale has been adjusted from the harmonic to improve the MELODIC sounds. The names make PERFECT sense.
Even if they didn't, language isn't logical, things are named for historical reasons, and musicians use the terms they do because those terms fit the system as it exists very well.
A theory, is, in academic parlance, a collection of theorems.
I'm glad we agree.
A "theory" is something with enough evidence to suggest something, but not enough evidence to prove, while a "theorum" is something that is has enough evidence to prove undoubtedly.
The HARMONIC minor scale has been adjusted from the 'natural' minor to improve the HARMONIC sounds.
The MELODIC minor scale has been adjusted from the harmonic to improve the MELODIC sounds.
Again, I'm glad we agree.
I must praise you for your ability to disguise an agreement as an argument. Bravo! it was magnificent!
I'm glad we agree.
A "theory" is something with enough evidence to suggest something, but not enough evidence to prove, while a "theorum" is something that is has enough evidence to prove undoubtedly.
The HARMONIC minor scale has been adjusted from the 'natural' minor to improve the HARMONIC sounds.
The MELODIC minor scale has been adjusted from the harmonic to improve the MELODIC sounds.
Again, I'm glad we agree.
I must praise you for your ability to disguise an agreement as an argument. Bravo! it was magnificent!
The reason intelligent people that can grasp music theory and can also be alert of whether or not they're being mind controlled is not because they are mentally lazy, it is because they understand inferred meanings.
I'm not sure what you are arguing about, it seems to be your own fault that you cannot seem to learn music theory terms simply because you fail to just accept terms as they are just as you adapted the English language. You seem to be complaining about nothing? I'm sorry not everything can work in your favor, so you must learn to adapt.
I'm not sure what you are arguing about, it seems to be your own fault that you cannot seem to learn music theory terms simply because you fail to just accept terms as they are just as you adapted the English language. You seem to be complaining about nothing? I'm sorry not everything can work in your favor, so you must learn to adapt.
The reason intelligent people that can grasp music theory and can also be alert of whether or not they're being mind controlled is not because they are mentally lazy, it is because they understand inferred meanings.
What the fuck did you just tell me? Are we even talking about the same thing here?
I'm not sure what you are arguing about, it seems to be your own fault that you cannot seem to learn music theory terms simply because you fail to just accept terms as they are just as you adapted the English language. You seem to be complaining about nothing? I'm sorry not everything can work in your favor, so you must learn to adapt.
I have been picking up on these terms very quickly; I have absolutely no problem learning them at all whatsoever (unless the source of information suddenly becomes unavailable, or decides to change the style of teaching to something inefficient, because of taking my complaining too seriously).
If I had learned these terms before say.... ....age 17, I would have just shut up and learned the damn things with no complaints. But the fact is that I didn't encounter these things after a time of "deep", introverted speculation (which involved teaching myself the art of music, as well as becoming "conscious"), discovering "life" (and shit like that). This period of time had changed me from "just drifting through life" to "actively taking part (or whatever) in doing things" (it's hard to explain what I mean exactly, but I hope you get the idea). But my point is that I.... ....I forgot.
Where the fuck was I?
Did I mention to you the fact that I have really fucking severe obsessive-compulsive disorder? It's fucking crack-cocaine that's been fucking doing this to me, man.
But now that I'm drunk, I actually have the ability to simply "not give a damn". Call it music "theory" all you want; I don't give a fuck, because I'm not plagued by superficial obsessions over any kind of imperfections right now. But it'll come back later, when I'm no longer inebriated!
I think I just need to be fucking drunk all the time; it slows my brain down, and makes me less argumentative and superficial and whiny. I can just shrug and say, "Eh." when I'm drunk. But I'm all like, "WHAT?! YOU GOD-DAMNED INCORRECT MORON!!!! THAT SHOULD BE AN L NOT AN O YOU FUCKING TWIT!!!!!" in my normal, "cocaine" self that involves a brain that seems to produce hardcore stimulants on its own. In my normal "cocaine" self, I have this tendency to hate random strangers because "They look funny.", but I don't care when I'm full of alcohol and serotonin reuptake inhibitors. (What the fuck does the "reuptake" part mean anywhoes?)
Oh yes, I want to eat you.
Now where was I? I can seem to fucking remember anymore.
But my problem is that I just can't fucking relax. It's all some kind of neurological fuck-up. I need drugs. I need depressants and/or hallucinogens. My fucking brain needs to slow the fuck down already. I need to try fucking L.S.D. sometime. Does you haves any? Gimme it!
What the fuck did you just tell me? Are we even talking about the same thing here?
I'm not sure what you are arguing about, it seems to be your own fault that you cannot seem to learn music theory terms simply because you fail to just accept terms as they are just as you adapted the English language. You seem to be complaining about nothing? I'm sorry not everything can work in your favor, so you must learn to adapt.
I have been picking up on these terms very quickly; I have absolutely no problem learning them at all whatsoever (unless the source of information suddenly becomes unavailable, or decides to change the style of teaching to something inefficient, because of taking my complaining too seriously).
If I had learned these terms before say.... ....age 17, I would have just shut up and learned the damn things with no complaints. But the fact is that I didn't encounter these things after a time of "deep", introverted speculation (which involved teaching myself the art of music, as well as becoming "conscious"), discovering "life" (and shit like that). This period of time had changed me from "just drifting through life" to "actively taking part (or whatever) in doing things" (it's hard to explain what I mean exactly, but I hope you get the idea). But my point is that I.... ....I forgot.
Where the fuck was I?
Did I mention to you the fact that I have really fucking severe obsessive-compulsive disorder? It's fucking crack-cocaine that's been fucking doing this to me, man.
But now that I'm drunk, I actually have the ability to simply "not give a damn". Call it music "theory" all you want; I don't give a fuck, because I'm not plagued by superficial obsessions over any kind of imperfections right now. But it'll come back later, when I'm no longer inebriated!
I think I just need to be fucking drunk all the time; it slows my brain down, and makes me less argumentative and superficial and whiny. I can just shrug and say, "Eh." when I'm drunk. But I'm all like, "WHAT?! YOU GOD-DAMNED INCORRECT MORON!!!! THAT SHOULD BE AN L NOT AN O YOU FUCKING TWIT!!!!!" in my normal, "cocaine" self that involves a brain that seems to produce hardcore stimulants on its own. In my normal "cocaine" self, I have this tendency to hate random strangers because "They look funny.", but I don't care when I'm full of alcohol and serotonin reuptake inhibitors. (What the fuck does the "reuptake" part mean anywhoes?)
Oh yes, I want to eat you.
Now where was I? I can seem to fucking remember anymore.
But my problem is that I just can't fucking relax. It's all some kind of neurological fuck-up. I need drugs. I need depressants and/or hallucinogens. My fucking brain needs to slow the fuck down already. I need to try fucking L.S.D. sometime. Does you haves any? Gimme it!
"What the fuck did you just tell me? Are we even talking about the same thing here?"
Look:
"That sort of mental laziness is exactly what makes most people so easily mind-controlled."
But uh, yeah, arguing with you is pointless, it's clear now. You're just silly.
If the reason is your real or metaphorical drugs and alcohol or what have you, then it's just not worth trying anymore since your own mind's handicap will absolutely not allow you to learn these terms.
"You are unable to learn these terms because of your mental stage."
If you disagree with that statement, you disagree with your own mindset(from what I've been told by you), and that would make a nasty paradox where you also agree that you are in fact able to learn, but still disagree that you are able to learn... I could be majorly backwards about that, but this is all a headache trying to explain things to you.
If you agree with that statement however, then there should be no argument or reasons to type out your walls of text.
So I believe I'll just gave up trying to help anymore. It just a circle with you.
Look:
"That sort of mental laziness is exactly what makes most people so easily mind-controlled."
But uh, yeah, arguing with you is pointless, it's clear now. You're just silly.
If the reason is your real or metaphorical drugs and alcohol or what have you, then it's just not worth trying anymore since your own mind's handicap will absolutely not allow you to learn these terms.
"You are unable to learn these terms because of your mental stage."
If you disagree with that statement, you disagree with your own mindset(from what I've been told by you), and that would make a nasty paradox where you also agree that you are in fact able to learn, but still disagree that you are able to learn... I could be majorly backwards about that, but this is all a headache trying to explain things to you.
If you agree with that statement however, then there should be no argument or reasons to type out your walls of text.
So I believe I'll just gave up trying to help anymore. It just a circle with you.
your own mind's handicap will absolutely not allow you to learn these terms.
I could have sworn that I made it clear that I have absolutely no trouble learning them; it just that I have this unfortunate tendency to complain about superficial things.
But uh, yeah, arguing with you is pointless, it's clear now. You're just silly.
Arguing on the internet is pointless. Everyone who does it just does it because it's fun/have nothing better to do. Or because they take things too seriously. Seriously though, why the fuck is everyone so fucking serious on the internet?!
And thank you.
"You are unable to learn these terms because of your mental stage."
Again, I am not unable to learn these terms, but am pointing out the fact that they are more difficult to learn than they would be if they names that were less misleading and/or vague (such as the vagueness of "mental stage", which I am assuming that you mean that don't know enough to be able to learn certain things). It's akin to getting irritated that a certain stain in something just won't come out. Perhaps it's superficial, but I'm a perfectionist like that. I can't help myself.
Oh yes, circles are nice shapes, which is probably why I'm so fond of them.
I could have sworn that I made it clear that I have absolutely no trouble learning them; it just that I have this unfortunate tendency to complain about superficial things.
But uh, yeah, arguing with you is pointless, it's clear now. You're just silly.
Arguing on the internet is pointless. Everyone who does it just does it because it's fun/have nothing better to do. Or because they take things too seriously. Seriously though, why the fuck is everyone so fucking serious on the internet?!
And thank you.
"You are unable to learn these terms because of your mental stage."
Again, I am not unable to learn these terms, but am pointing out the fact that they are more difficult to learn than they would be if they names that were less misleading and/or vague (such as the vagueness of "mental stage", which I am assuming that you mean that don't know enough to be able to learn certain things). It's akin to getting irritated that a certain stain in something just won't come out. Perhaps it's superficial, but I'm a perfectionist like that. I can't help myself.
Oh yes, circles are nice shapes, which is probably why I'm so fond of them.
A large part of the problem of this particular submission is because I can't hear what your tiny, quiet voice is saying most of the time (if that IS your voice....).
You, not I, control the volume on your machine.
Another problem is because you're going to quickly for me to be able to properly concentrate.
I spent over six minutes covering just four scales, and this is too fast? I honestly don't know how I could stretch this lesson out any more.
A third problem is the fact that I don't "see" those sounds anywhere on any instrument that I would play (but I recognize combinations of notes that I have personally played many many times).
I can not do anything about that.
I did not create the terms used in music theory. I thought that this would be an easier way to help you understand the terms, by listening to them.
I was wrong.
I think that you should create that glossary of terms. But I can't write it for you; you have to do it yourself.
You, not I, control the volume on your machine.
Another problem is because you're going to quickly for me to be able to properly concentrate.
I spent over six minutes covering just four scales, and this is too fast? I honestly don't know how I could stretch this lesson out any more.
A third problem is the fact that I don't "see" those sounds anywhere on any instrument that I would play (but I recognize combinations of notes that I have personally played many many times).
I can not do anything about that.
I did not create the terms used in music theory. I thought that this would be an easier way to help you understand the terms, by listening to them.
I was wrong.
I think that you should create that glossary of terms. But I can't write it for you; you have to do it yourself.
You, not I, control the volume on your machine.
Hewlett Packard and Bill Gates, not I, control how high the volume can go on my machine. (Those bastards!) I had it at maximum volume on the machine (both hardware AND software) AND the web page.
I spent over six minutes covering just four scales, and this is too fast? I honestly don't know how I could stretch this lesson out any more.
I know you know how to subtract, but can you A.D.D.? Having speech with subtitles, and repeated multiple times a method that I found to be effective.
But that would be too much work. I thought of a much easier method: that glossary thing.
I think that you should create that glossary of terms. But I can't write it for you; you have to do it yourself.
I would do that if I knew all the terms. I, sadly, do not. This is why I'm asking you.
Hewlett Packard and Bill Gates, not I, control how high the volume can go on my machine. (Those bastards!) I had it at maximum volume on the machine (both hardware AND software) AND the web page.
I spent over six minutes covering just four scales, and this is too fast? I honestly don't know how I could stretch this lesson out any more.
I know you know how to subtract, but can you A.D.D.? Having speech with subtitles, and repeated multiple times a method that I found to be effective.
But that would be too much work. I thought of a much easier method: that glossary thing.
I think that you should create that glossary of terms. But I can't write it for you; you have to do it yourself.
I would do that if I knew all the terms. I, sadly, do not. This is why I'm asking you.
Yeah, I always found Ur to be utterly useless too.
Here, you might find this information somewhat useful.
Here, you might find this information somewhat useful.
Basically, microtonality is the use of quarter tones, or intervals that aren't part of music composition as we know it. I find using quarter tones next to each other the most interesting, two of them together (eg. C and C1/4#) gives off a really odd, almost pulsing, drone. Unfortunately, most music software doesn't incorporate it (audibly anyway), but it was interesting when I had a few friends with F Horns doing it! A good example of this 'pulsing' would be 'Anahit' by Scelsi: http://www.youtube.com/watch?v=-cl_QNZVip4
A good thing to know from the performer's point of view is that quarter tones are hard to play! So, in order to still be their friends after the performance, keep the quarter tones next to each other, instead of leaping large distances!
So yeah, microtonality, lots of fun to compose, not so fun to perform!!!
A good thing to know from the performer's point of view is that quarter tones are hard to play! So, in order to still be their friends after the performance, keep the quarter tones next to each other, instead of leaping large distances!
So yeah, microtonality, lots of fun to compose, not so fun to perform!!!
Basically, microtonality is the use of quarter tones, or intervals that aren't part of music composition as we know it.
*hrm*
I define 'microtonality' as "using pitches other than normal, equal temperament, especially when some pitches are closer together than an equal-tempered half-tone."
To me, having different *pitches* for G-sharp and A-flat, or using multiple *pitches* for D, qualifies as microtonality. Is this a bad definition?
*hrm*
I define 'microtonality' as "using pitches other than normal, equal temperament, especially when some pitches are closer together than an equal-tempered half-tone."
To me, having different *pitches* for G-sharp and A-flat, or using multiple *pitches* for D, qualifies as microtonality. Is this a bad definition?
Yes, microtonality is, pretty much, using pitches/intervals not in equal temperament. When I say 'music composition as we know it', I mean how we compose tonally.
You could have different pitches for G-sharp and A-flat, but it gets very complicated, involving the use of frequency ratios compared to the tonic when tuning. When you say multiple pitches for D, are you referring to octaves, or small changes in pitch? If its the former, then no, its not microtonality, but if its the latter, the complicated stuff arrives again. I assume you mean when you change the pitch of D a few Hz up or down?
So, in conclusion, its not a bad definition. I just find the 'pitches/intervals not in equal temperament' easier to understand!
I'm still trying to get my head around this idea myself!
You could have different pitches for G-sharp and A-flat, but it gets very complicated, involving the use of frequency ratios compared to the tonic when tuning. When you say multiple pitches for D, are you referring to octaves, or small changes in pitch? If its the former, then no, its not microtonality, but if its the latter, the complicated stuff arrives again. I assume you mean when you change the pitch of D a few Hz up or down?
So, in conclusion, its not a bad definition. I just find the 'pitches/intervals not in equal temperament' easier to understand!
I'm still trying to get my head around this idea myself!
*nodnod* Okay. Then we are talking about the same thing.
Here's what I mean by multiple pitches for D:
Assume that you're in the key of C. You're composing in a very strict just intonation.
If you got to a D through G major, then the D is a fifth above a fifth above C.
If you got to D as a fifth below A minor, then the D is a fifth below a minor third below C.
In some forms of just intonation, those are two different notes.
Here's what I mean by multiple pitches for D:
Assume that you're in the key of C. You're composing in a very strict just intonation.
If you got to a D through G major, then the D is a fifth above a fifth above C.
If you got to D as a fifth below A minor, then the D is a fifth below a minor third below C.
In some forms of just intonation, those are two different notes.
I have a proposition for you.
Instead of brown-nosing the narrow-minded masses, try making their ears bleed with the most hideous noise you can create.
In fact, I want to compete with you about how many sheep here on FA we can offend!
But face it; if you want your music to be "popular", you have to feed the sheep the same old unoriginal crap they're used to eating. If you want to appeal to the FA crowd, you have to keep in mind that most of them are a bunch of stereotypical furries. If you've looked around, you might have noticed that the "Music Maker"s that have the highest amounts of favorites are those that make techno (stereotypical gay music) and/or music that sounds like it belongs in a video game! I'm sure that Satan will tell you about how many more favorites and views he got when he submitted a Legend-of-Zelda-themed piece of music.
I don't know about you, but I'd rather have a small amount of "real" fans that actually like my "music" (as well as myself) to a horde of mindless, brainwashed zombies who panic whenever they encounter anything out of the ordinary.
Instead of brown-nosing the narrow-minded masses, try making their ears bleed with the most hideous noise you can create.
In fact, I want to compete with you about how many sheep here on FA we can offend!
But face it; if you want your music to be "popular", you have to feed the sheep the same old unoriginal crap they're used to eating. If you want to appeal to the FA crowd, you have to keep in mind that most of them are a bunch of stereotypical furries. If you've looked around, you might have noticed that the "Music Maker"s that have the highest amounts of favorites are those that make techno (stereotypical gay music) and/or music that sounds like it belongs in a video game! I'm sure that Satan will tell you about how many more favorites and views he got when he submitted a Legend-of-Zelda-themed piece of music.
I don't know about you, but I'd rather have a small amount of "real" fans that actually like my "music" (as well as myself) to a horde of mindless, brainwashed zombies who panic whenever they encounter anything out of the ordinary.
I see what the problem between the communication between us is.
You don't understand something unless it is expressed to you in the most pretentiously overcomplicated way possible, while I fail to understand something unless it's put in the most simplistic and straight-forward way possible.
You don't understand something unless it is expressed to you in the most pretentiously overcomplicated way possible, while I fail to understand something unless it's put in the most simplistic and straight-forward way possible.
Basically, microtonality is the use of quarter tones, or intervals that aren't part of music composition as we know it.
*hrm*
I define 'microtonality' as "using pitches other than normal, equal temperament, especially when some pitches are closer together than an equal-tempered half-tone."
Correct me if I'm wrong, but did you just say, "I have a different definition of 'microtonality' than you. We both have the same definition of 'microtonality', but each use a different set of words."?
*hrm*
I define 'microtonality' as "using pitches other than normal, equal temperament, especially when some pitches are closer together than an equal-tempered half-tone."
Correct me if I'm wrong, but did you just say, "I have a different definition of 'microtonality' than you. We both have the same definition of 'microtonality', but each use a different set of words."?
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