Yeah good explanation and the OP should learn that in baroque music generally ii65 is the archetypal predominant in both major and minor keys and IV or iv are both less common as predominants.
Well, I blame things like Piano Lessons, pre-college school education, and things like that where the I-IV-V7-I kind of chord progression is drilled into students.
Please make it reverse chronology. I want to jump straight into post-modern harmony without all the unnecessary preamble stuff about John Dunstable inventing triads. I mean, who even buys LPs by Notker the Stammerer these days? :)
Today is my birthday and I'm very aware of this phenomenon, so I'll let others have a chance at the obvious answer. And a fie upon you both for beating me to the punch and doing it better.
Wow, you've said very cogently what I have been thinking for a long time, but as an amateur sofa guitarist with an interest in, and enthusiasm for theory, I would have struggled a bit to put in to words. But yeah, the concept of "borrowed" chords has, at best, never been explained to me in a persuasive way. It has always seemed like a somewhat vacuous concept. As an admitted amateur however, i.e., with no formal training, I am always open to having my opinion changed by a compelling argument/discussion.
I'd like to offer some suggestions for you to ponder but it's getting late and I'm tired. I'll try to remember tomorrow but this is one reason we actually don't use the term "borrowed" in Academic Theory, but "Mode Mixture" instead. "Borrow" has sort of an "active" kind of implication where "Mixture" is a more neutral word.
Either the Ernie ball ones mentioned or EBS flats will probably do the trick. It sucks to spend the money on cables but I sacrificed spending 150 bucks on a pedal I probably don’t need about a year and a half ago, picked up a bunch of the ebs flats and I haven’t regretted it all. Not only can you fit things closer together but it’s a lot easier to keep everything neat when you don’t have big bulky cables. I recently picked up some of the Ernie ball TRS flats because I could get them cheaper than the ebs ones on Amazon and they also seem to be doing to the trick.
Based on the only video I watched, I'd say you'd be in a good position of benefiting from that kind of outline - looking at the series titles, it seems like it is all more "advanced" and "philsophical" and "experiential" and things like that - beyond "the basics" and more into "the art" part of it. But I guess it also depends on how valuable your time is and if anything in it is a "well I'll never get that 20 minutes back" kind of thing.
Are you a beginner? I just watched the first episode and it's really more "philosophical" than it is technical, and you have to know a pretty good amount of harmony going in I think to appreciate that. Do you?
I think that the main issue here is that you’re looking at OPs ideas with the lens of Mozart. Of course it won’t work on music of that time, but many things we do now would not work back then either.
I think you're misunderstanding a little - Mozart's modulations are brilliant and he - and Haydn, and Beethoven, all go to remote keys through some quite ingenious and inventive ways! They do exhibit what you're talking about. But Modulation to other keys and "using chords form other keys" is a different matter. While Mozart may have moduated from C to A, the only other way that chords from A would appear is - well - really, no way. an A chord from the key of Dm would appear (and Dm is closer than the key of A).
Thank you :) indeed the bass line and the figures were given. I only play the melody with my ocarina. I didnt have any musical education so everything you wrote really helps me. I didnt know that the lower notes for the RH are the same notes from the bass. So thats good to know :D.
A "block" voicing is one where the notes are adjacent C-E-G - no gap between C and E where any other C, E, or G could fit. This is also called a "close" (or closed) voicing.
I echo scott's issue - Please use links that don't require an account - not everyone has or wants one. A free platform like YT or similar would be better
Thanks. Yeah, I agree with scott - hard to say. It has a pulse, but not an obvious meter or grouping. It's probably done in a DAW in something in 4 and just not much attention paid to the barlines and so on - there is also some pushing or dragging of the pulse, or the tempo is speeding up and slowing down, so really just difficult to be precise without seeing a score.
Some academic texts use IVadd6 or parentheses around the add 6.
Yeah good explanation and the OP should learn that in baroque music generally ii65 is the archetypal predominant in both major and minor keys and IV or iv are both less common as predominants.
Well, I blame things like Piano Lessons, pre-college school education, and things like that where the I-IV-V7-I kind of chord progression is drilled into students.
I see chapter names have been leaked. Looking forward to "Temperament? Get Werckmeistered".
Please make it reverse chronology. I want to jump straight into post-modern harmony without all the unnecessary preamble stuff about John Dunstable inventing triads. I mean, who even buys LPs by Notker the Stammerer these days? :)
You need to be in "Stomp Mode" (page 11 of the manual).
This was super helpful, thanks! Is there a way to turn a preset into a pedal so it can be included in a snapshot without exiting to another?
Not sure what you're asking because I think you're mixing terms.
https://www.reddit.com/r/musictheory/wiki/faq/core/new_to_music_theory
https://www.reddit.com/r/musictheory/wiki/faq/core/new_to_music_theory
I play a 65 Twin Reverb Re-Issue (if that wasn't obvious...).
Today is my birthday and I'm very aware of this phenomenon, so I'll let others have a chance at the obvious answer. And a fie upon you both for beating me to the punch and doing it better.
Happy birthday!
Thanks!
Hello.
OK Thanks!
Awesome reply. I wholeheartedly agree.
Thanks for that reference!
Wow, you've said very cogently what I have been thinking for a long time, but as an amateur sofa guitarist with an interest in, and enthusiasm for theory, I would have struggled a bit to put in to words. But yeah, the concept of "borrowed" chords has, at best, never been explained to me in a persuasive way. It has always seemed like a somewhat vacuous concept. As an admitted amateur however, i.e., with no formal training, I am always open to having my opinion changed by a compelling argument/discussion.
I'd like to offer some suggestions for you to ponder but it's getting late and I'm tired. I'll try to remember tomorrow but this is one reason we actually don't use the term "borrowed" in Academic Theory, but "Mode Mixture" instead. "Borrow" has sort of an "active" kind of implication where "Mixture" is a more neutral word.
Sorry I don't have audio to share right now, but the rhythm is like
You just described 7/4 (at least, how it's most often used).
Klaus Schulze: Pioneer of Artificial Intelligence Music???
Thanks!
Either the Ernie ball ones mentioned or EBS flats will probably do the trick. It sucks to spend the money on cables but I sacrificed spending 150 bucks on a pedal I probably don’t need about a year and a half ago, picked up a bunch of the ebs flats and I haven’t regretted it all. Not only can you fit things closer together but it’s a lot easier to keep everything neat when you don’t have big bulky cables. I recently picked up some of the Ernie ball TRS flats because I could get them cheaper than the ebs ones on Amazon and they also seem to be doing to the trick.
I think the metal housing on these is too wide - I would have to face the middle one up and bend the cable back.
https://www.sweetwater.com/store/detail/P06224--ernie-ball-flat-ribbon-patch-cables-pedalboard-multi-pack
I think the metal housing on these is too wide - I would have to face the middle one up and bend the cable back.
I’m not a beginner. I have a pretty good understanding of functional harmony.
Based on the only video I watched, I'd say you'd be in a good position of benefiting from that kind of outline - looking at the series titles, it seems like it is all more "advanced" and "philsophical" and "experiential" and things like that - beyond "the basics" and more into "the art" part of it. But I guess it also depends on how valuable your time is and if anything in it is a "well I'll never get that 20 minutes back" kind of thing.
Are you a beginner? I just watched the first episode and it's really more "philosophical" than it is technical, and you have to know a pretty good amount of harmony going in I think to appreciate that. Do you?
I think that the main issue here is that you’re looking at OPs ideas with the lens of Mozart. Of course it won’t work on music of that time, but many things we do now would not work back then either.
I think you're misunderstanding a little - Mozart's modulations are brilliant and he - and Haydn, and Beethoven, all go to remote keys through some quite ingenious and inventive ways! They do exhibit what you're talking about. But Modulation to other keys and "using chords form other keys" is a different matter. While Mozart may have moduated from C to A, the only other way that chords from A would appear is - well - really, no way. an A chord from the key of Dm would appear (and Dm is closer than the key of A).
That would just be asking for… treble the troubles.
I believe the correct title is the Trouble with Trebles.
I'll reinforce the best answer by
Both of them
Well you're going to have a hard time finding a book on symbolism in music if you're searching the term "musical symbols" or something.
Are you searching "symbols" or "Symbolism"?
Thank you :) indeed the bass line and the figures were given. I only play the melody with my ocarina. I didnt have any musical education so everything you wrote really helps me. I didnt know that the lower notes for the RH are the same notes from the bass. So thats good to know :D.
A "block" voicing is one where the notes are adjacent C-E-G - no gap between C and E where any other C, E, or G could fit. This is also called a "close" (or closed) voicing.
So to be clear - the bass line and the figures was provided but you filled in the RH chords in the piano part, correct?
I have a lot of questions I'd like to ask since you said AMA :-)
Thanks! Ok:
Wow thanks for all the info! Really enlightening and informative. Again, great show - congratulations!!!
I echo scott's issue - Please use links that don't require an account - not everyone has or wants one. A free platform like YT or similar would be better
https://www.youtube.com/watch?v=ctBWIHRwAdc
Thanks. Yeah, I agree with scott - hard to say. It has a pulse, but not an obvious meter or grouping. It's probably done in a DAW in something in 4 and just not much attention paid to the barlines and so on - there is also some pushing or dragging of the pulse, or the tempo is speeding up and slowing down, so really just difficult to be precise without seeing a score.
A "motive" is something that is "structural" in that it appears repeatedly throughout a piece as a "building block" so to speak.