Ornette and Harmolodic theory

[edgerider]

Someone was asking for the definition. then someone els said that Ornette
babbled about it in Beauty is a Rare Thing note. I looked their and
couldn't find any ornett explanation. But I'd say Mingus hit it pretty
well "...like a cat with a buch of bongos... not really following the
changes but right in his own way" (loosely quoted) implying that alot of
the reason it works is Ornette's rhythmic aspect.

But as for actually linear theory I remember some liner notes that were
contained in an album with a yellow cover that came out in the late
seventies (I think that was the one... or perhaps it was Tales of Captain
Black) the album right before Captain Black... It was a one page lesson
tucked in side the jacket with the sleeve. What it listed (if my memory
doesn't fail me) was a kind of correspondence between one note and
another... along the lines I saw of an earlier post here about this which
stated that when B was the first note of the melody one should play the
notes E, F, and D either simultaneously or nearby.

The thing that I remember about this Listing of Ornettes was that
chromaticism was not valid eg if you had B => D, E, F it did not mean that
you had C => D#, F, F#.

If anyone could find this little listing and post it would I appreciate
it... yes ... maybe I'll actually try practising the relations for a year
or so this time.

[Jeff Beer]

In article <2q59dq$b...@cville-srv.wam.umd.edu>,

edgerider <keco...@next03epsl.wam.umd.edu> wrote:
>
>tucked in side the jacket with the sleeve. What it listed (if my memory
>doesn't fail me) was a kind of correspondence between one note and
>another... along the lines I saw of an earlier post here about this which
>stated that when B was the first note of the melody one should play the
>notes E, F, and D either simultaneously or nearby.
>
>The thing that I remember about this Listing of Ornettes was that
>chromaticism was not valid eg if you had B => D, E, F it did not mean that
>you had C => D#, F, F#.
>
>If anyone could find this little listing and post it would I appreciate
>it... yes ... maybe I'll actually try practising the relations for a year
>or so this time.

One thing I remember that containing a "harmolodic" scale.

It is the series of whole step + minor third repeated until it comes ba
ck.

so it is:

C D F G Bb C Eb F Ab Bb Db Eb Gb Ab B Db E Gb A B D E G A C

I remember Karl Berger having something like that too.

Jeff

[Anthony Corman]

Pursuing Beer's line of thought, the notion of
scales that are > an octave has always intrigued
me as one way to get out. Seems to me that they'll
only make aural sense if you start from the bottom and
ascend; otherwise you're already in the out part
of the scale. Also, not so great on horns with
limited range, like saxophone; maybe more
effective on keys & guitar.

[Jeff Beer]

In article <1994May3.2...@pony.ingres.com>,

Anthony Corman <cor...@Ingres.COM> wrote:
>Pursuing Beer's line of thought, the notion of
>scales that are > an octave has always intrigued
>me as one way to get out. Seems to me that they'll

Xenakis is into that. But Xenakis is not to be confused with
Harmolodic.

Jeff

[Farhad Bahrami]

Anthony Corman (cor...@Ingres.COM) wrote:
: Pursuing Beer's line of thought, the notion of

Multi-octave scales can be found in the music
of other cultures, particularly Iran and India.
However the range of the horn (or any other
instrument) is not considered limited - maybe
because 2 to 3 octaves is plenty of "scale-tones" :)
Cheers,
Farhad