Useful chord!
Keith Freeman
it was not until picking up Goodrick's Advancing Guitarist that I noticed
it does equally well as a Bhalfdim(add9)...
-Keith
matt hooley
~mh
"Keith Freeman" <freeke...@compuserve.com> wrote in message
news:Xns937D9ECCC...@212.64.53.133...
Ludwig
Does a good job of Db alt too, or E sus b9 or F Lydian (A9 b13 if anyone's
interested ...)
Jos Groot
Actually, it can be used for any of the chords of the harmonised
D melodic minor scale. And, with some more caution (avoid notes),
for chords from the harmonised C major scale.
Jos Groot
Keith Freeman
Great, I was looking for some more of those!
-Keith
Keith Freeman
> D melodic minor scale. And, with some more caution (avoid notes),
> for chords from the harmonised C major scale.
be used for?! Folks, your chord worries are over - one voicing fits all!!!
-Keith
Gamelan
Does it work as the "Petrushka chord"?
Keith Freeman
-Keith
Joey Goldstein
b5 R 11 b7
F B E A
--
Joey Goldstein
http://www.joeygoldstein.com
<joegold AT sympatico DOT ca>
Keith Freeman
> b5 R 11 b7
> F B E A
-Keith
Steve Modica
x^2=xy {multiply y on both sides)
x^2-y^2=xy-y^2 (subtract y^2 from both sides)
(x+y)(x-y)=y(x-y) (factor both sides by y)
x+y=y (cancel x-y from both sides)
y+y=y (subsitute y for x)
therefore 2=1
So.. since we have now proved that 2=1, we can say that (2+2+2+2+2+1) =
(2+2+2+1+1+1)
therefore, 11 = 9.. we're all happy! :)
matt hooley
ninth to have in adition to the eleventh. if your ears can handle that...
~mhnews:Xns937DBB96C...@212.64.53.133...
thom_j.
> > or E sus b9
> Great, I was looking for some more of those!
> -Keith
Cant you gett'em cheap on eBay? :8^).... t.j.
Geoff Duncan
> if x=y
> x^2=xy {multiply y on both sides)
> x^2-y^2=xy-y^2 (subtract y^2 from both sides)
> (x+y)(x-y)=y(x-y) (factor both sides by y)
> x+y=y (cancel x-y from both sides)
> y+y=y (subsitute y for x)
> therefore 2=1
Or, more properly, "when you divide by zero, anything is possible." Even
for drummers. ;-)
gd
--
Geoff Duncan <http://www.quibble.com/geoff/>
Mail sent to this address won't reach me - or anyone else.
Geordie F.O. Kelly
--
Geordie F.O. Kelly
Guitarist/Jazz Improvisation Instructor
Armed Forces School of Music
http://heritageguitar.com/artists/
"Keith Freeman" <freeke...@compuserve.com> wrote in message
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Joey Goldstein
Then ask yourself how it would function with any of the 12 possible root tones.
With A in the bass: Fmaj7b5/A, [or Am(no3rd)(add9addb6) unlikely]
With Bb in the bass: pretty polytonal. chord symbols don't make much
sense. closest sensible thing would be Fmaj7#5/Bb. maybe Bbmaj7(no3rd)b9#11
With B in the bass: Bm7b5(no3rd)(11), B7sus5b5
With C in the bass: Cmaj7sus4(no5th)(13), Fmaj7b5/C
With C# in the bass: C#7#9#5
With D in the bass: Dm6(9)
With Eb in the bass: Fmaj7b5/Eb?
With E in the bass: Esus4(b9), Fmaj7b5/E
With F in the bass: Fmaj7b5
With F# in the bass: Fmaj7b5/F#, F#7maj7(no5th)(addb7add11) unlikely
With G in the bass: G7(no5th)(9 13)
With G# in the bass: G#dim7(no5th)(b9b13)
David Liebman, in his book A Chromatic Approach To Jazz Harmony and
Melody, has some ways to name these 'un-nameable' chords, or chords for
which root terminolgy is not really applicable.
1. He uses a system of slash chords with horizontal slashes -.
The letter on the bottom of the slash chord indicates a single bass note
unless followed by the text 'tr' which means it is a triad.
With only one slash this system is identical to the more common system
using diagonal slashes. But with 3 or more
levels happening it becomes much more complex.
For the Fmaj7b5 chords above there is no need to go to the 3rd level.
2. He also uses another system that is very specific about the note
stack. It involves a bass note indicated by an unadirned letter name
(plus accidental when required). The text 'add' (with no parentheses)
immediately follows the bass note which indicates that anything to the
right of 'add' is a note that will be added to the bass note. He uses '
to indicate a note that is in the 2nd octave above the bass note and ''
to indicate a note that is in the 3rd octave above the bass note. Notes
in the 1st octave above the bass are labelled in their regular compound
interval designation (9, 11, 13, etc.). Notes in the 2nd and 3rd octaves
are also indicated with compound interval numerals (9', 11', etc., 9'',
11'', etc.)
So
Cadd b6,7,b9,9',#9''
would be (bottom to top)
C Ab B Db D Eb
For these Fmaj7b5 voicings with alternate bass notes that are tricky to
name with root terminalogy the 'add' system could be invoked.
Eg. Fmaj7b5/Bb
becomes
Bbadd 5,b9,#11,14
Etc.
Both of these are interesting ways to name chords but you don't see very
many folks using them yet.
Joey Goldstein
Joey Goldstein wrote:
>
>
> With F# in the bass: Fmaj7b5/F#, F#7maj7(no5th)(addb7add11) unlikely
Sorry. That was supposed to be
F#m(maj7)(no5th)(addb7add11)
Mark Smart
> if x=y
> (x+y)(x-y)=y(x-y) (factor both sides by y)
> x+y=y (cancel x-y from both sides)
Hey, no dividing by zero!
Mark Smart
Mark Smart
Add a C# on top for extra coolness.
Mark Smart
Clyde Loewen
Cute nonetheless.
"Steve Modica" <mod...@sgi.com> wrote in message
news:3EC514CD...@sgi.com...
Annie
Does it work as the "Petrushka chord"?
Tom Lippincott
>be used for?! Folks, your chord worries are over - one voicing fits all!!!
>
>-Keith
how much would you pay for this ultra-versatile chord? But wait, don't answer
yet, because if you call and order in the next ten minutes, you'll also get
free this set of steak knives, suitable for framing. (cut to Ron Popeil next
to portly shaved headed, mustached Buddha-esque man in expensive looking
multicolored sweater)
"here we are in Ronco studios with guitar master Mick Goodrick. Mick has
agreed to help me put this chord through it's paces. Hey Mick, what do you
call this chord anyway"
"Why, I call it Fred, Ron."
(laughter and shot of audience)
"So, Mick, earlier you were telling me this chord could be used for any chord
derived from the C major scale OR the D melodic minor scale? I just don't buy
that...NO chord is THAT versatile!"
(Mick picks up Klein guitar with name on headstock blurred out)
"Oh, how about this?"
(plays flurry of contrapuntal ideas based around chord shape, morphing between
C major modes and D melodic minor modes effortlessly)
"Well I'll be! But can it make me a pound of dried fruit?"
(another shot of audience laughing)
"Well SURE it can, Ron"
(Mick plays another spontaneous etude based on the Fred chord modulating
through a series of minor third intervals, with Giant Steps' bass line;
suddenly Ron Popeil disappears, replaced by a plate of dried apples)
(audience applause, cut to shot of house band, The Fringe, playing theme music)
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
Keith Freeman
-Keith
Max Leggett
On 17 May 2003 07:06:50 GMT, tomli...@aol.comnospam (Tom Lippincott)
wrote:
Tom Lippincott
aw, I'll bet you say that to ALL the Jim Jones followers.
Louis M. Pecora
wrote:
> if x=y
> x^2=xy {multiply y on both sides)
> x^2-y^2=xy-y^2 (subtract y^2 from both sides)
> (x+y)(x-y)=y(x-y) (factor both sides by y)
> x+y=y (cancel x-y from both sides)
> y+y=y (subsitute y for x)
> therefore 2=1
>
Good God! Can the annihilation of the universe be far behind??
:-)
Uh...
> x+y=y (cancel x-y from both sides)
You divided by zero. :-)
Same problem that left a Navy destoyer floating helplessly at sea a few
years ago. Yes, I think the operating system was Windows NT.
I know this has nothing to do with music.
--
Lou Pecora
- My views are my own.
Wfsilva
>
>> x+y=y (cancel x-y from both sides)
The above step is division by zero. If one accepts this division, then all
numbers are equal.
0 x 5 = 0 x 6, cancel zeros so 5 = 6.
Joanguitar
not that easy
n/0=infinite m/0=infinite but, infinite is not equal to infinite, there
are infinites bigger than others :) thats the clue!
so... lets enjoy watching beautiful women :)
hehehehe
Joan
"Wfsilva" <wfs...@aol.com> escribió en el mensaje
news:20030521001926...@mb-m05.aol.com...
Adam Bravo
Maybe even imaginary numbers; I'm not at limit theory in my math studies
yet...
"Joanguitar" <joang...@terra.es> wrote in message
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Louis M. Pecora
<mra...@cox.net> wrote:
> n/0 can be equal to any real number, depending on your definition, iirc.
> Maybe even imaginary numbers; I'm not at limit theory in my math studies
> yet...
>
Actually division by zero is simply undefined in the real or imaginary
number fields. When you do it you violate the axioms (rules) of the
numbers, period. From that point on anything you get may or may not be
consistent with the axioms which means you may get garbage, but never
know it. Hence, you can 'prove' 1=2, but you didn't do it strictly
logically.