kad Posted October 10, 2006 Share Posted October 10, 2006 Yes, chords historically evolved from the vertical alignment of simultaneous melodies. At the same time, computers evolved from primitive tools made of sticks and stones. We evolve and move on. Reality is like the sun - you can block it out for a time but it ain't goin' away... Link to comment Share on other sites More sharing options...
kanker. Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by kad: Yes, chords historically evolved from the vertical alignment of simultaneous melodies. At the same time, computers evolved from primitive tools made of sticks and stones. We evolve and move on. So where do chords exist horizontally? Melodies evolve and move on. Chords are static. Music is not. A ROMpler is just a polyphonic turntable. Link to comment Share on other sites More sharing options...
moj Posted October 10, 2006 Share Posted October 10, 2006 You know that arpeggios are define as broken chords, right? From Schirmer's Pocket Manual of Musical Terms: "Playing the tones of a chord in a rapid or even succession; playing broken chords. Hence, a chord so played; a broken or spread chord, or a chord -passage." It's a horizontal movement of tones that implies a harmony or a chord. Link to comment Share on other sites More sharing options...
Dave Horne Posted October 10, 2006 Share Posted October 10, 2006 Page 12 .... what was the question again? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
guestuserguestuser.com Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by kanker, apparently: Actually, I'm being serious my friend. Chords are frozen vertical constructs. Music is horizontal and dynamic. There is nothing but melody and countermelody, point and counterpoint. Chords do not exist.Actually, dynamics and flow are an illusion - they're just arpeggiated chords, played at fake different volumes. Music is only chords. Link to comment Share on other sites More sharing options...
guestuserguestuser.com Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by kanker, apparently: So where do chords exist horizontally? Melodies evolve and move on. Chords are static. Music is not. If you hold the sustain pedal down, chords exist horizontally. Melodies are the lacy, girly stuff woven on top of chords. Chords are manly. Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 Keyboards do not exist vertically, but will support horizontal chords. Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Kanker, You wrote - "I urge you all to open your minds and listen to music without the concept of chords - only melody. Listen to and track all the melodies. Focus on all of the voices as they move. It will change your perception of music." This approach seems fine to me. Think about music AS IF chords didn't exist. Why though do we need to accept a leap that they DON'T exist? John Lennon said it best..."Imagine there's no..." Imagine is the key word there. Sometimes I imagine that I have hair on my head. Doesn't make it true! Steve Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by cnegrad: I think it's great that all this incredible stupidity is being contained in this one thread...cnegrad, can't we play nicely? Message boards are all about sharing ideas. Someone somewhere may have a different idea than you; doesn't make it stupid. And, even if the vast majority of people would agree that something is stupid, it's not necessary to say so. Any debating or disagreeing you may have with someone else has much more power if you refrain from the name calling and belittling. The best and brightest don't need to do that. Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 Oh please.....evidentially no one is taking this seriously; it's all in good fun. Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by cnegrad: Oh please.....evidentially no one is taking this seriously; it's all in good fun. More fun without the name calling. Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 Okay mom.... Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by cnegrad: Okay mom.... Ok Mr. "Needing to get the last word in". Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 Did not. Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Do too. Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 My response does not exist in a horivertical framework. Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 TO CNEGRAD, "LB, are the 8th's in there what does this mean?" Well my teacher describe it this way, whatever rhythm you are playing (8th, triplet, 16th's) but let just talk 8th notes here, the being the most important jazz rhythm. Well, there is like a 'V' or a "Strike Zone" as in Baseball of a "Shooting Gallery with Little Rabbits"..... Your goal is to Aim you "line" notes at the rhythm (or rhythm section) or metronome. You may come in alittle early on the beat (let call this a left side "slider" pitch. Or straight down th e middle (bulls eye on the lil' Rabbit) or slightly ahead (to the upper right quardrent in the big 'V' in the sky of the beat. There are tolerences, but at some point you are either in ("In There") or out (not making the time). Hence a deep commitment and attachment to the Beat is essential when playing your line! lb CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 correction, this should be 'OR' > (or a "Strike Zone" as in Baseball of a "Shooting Gallery with Little Rabbits".....) sorry , Im in 'fn' work AGAIN! CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 So what you're (or he is) trying to say is "swing like a professional and don't fall out of the pocket unless you're doing it for an intentional effect". If that's what you're trying to communicate, I don't disagree. Is that what you're trying to say? Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 correction2 "the being"...."that being" The being from another planet I guess I ment... CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
cnegrad Posted October 10, 2006 Share Posted October 10, 2006 So what you're (or he is) trying to say is "swing like a professional and don't fall out of the pocket unless you're doing it for an intentional effect". If that's what you're trying to communicate, I don't disagree. Is that what you're trying to say? Link to comment Share on other sites More sharing options...
Dave Horne Posted October 10, 2006 Share Posted October 10, 2006 Melodies are the lacy, girly stuff woven on top of chords. Chords are manly. No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Dave Horne Posted October 10, 2006 Share Posted October 10, 2006 Hence a deep commitment and attachment to the Beat is essential when playing your line! Sometimes I have a conflict of commitments ... is that OK? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 CNEGRAD & DAVE "So what you're (or he is) trying to say is "swing like a professional and don't fall out of the pocket unless you're doing it for an intentional effect". If that's what you're trying to communicate, I don't disagree. Is that what you're trying to say?" EXACTLY SQUARED! For a JAZZ player it is essential. ... DAVE- STAY SINGLE, TAKE IT FROM A MARRIED GUUUUY! CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 DAve, "Sometimes I have a conflict of commitments ... is that OK?" I actually had a problem with this where I would get into my harmonic thing or get at little too inventive and my tech. would remind me my line wasn't making it in terms of it "being in there".... I thought you were kidding(maybe you were)...just in case you weren't.. lb CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
stepay Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by Dave Horne: Melodies are the lacy, girly stuff woven on top of chords. Chords are manly. Steve (Stevie Ray) "Do the chickens have large talons?" Link to comment Share on other sites More sharing options...
soundscape Posted October 10, 2006 Share Posted October 10, 2006 Originally posted by latchmo: in order of appearance... 1. rhythm 4. beer ...ahem. Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 Hey Guys, Not that I'm GAY or anything ('not that there's anything wrong with that') but melodies can be beautiful and masculine.... That's the whole thing that was going on with Prez.. ( thats is 'Lester Young' -Tenor Sax -Basie Band+ and forerunner of Charlie YardBird Parker)! Pork-Pie Hat anyone! http://images.google.com/images?q=tbn:NzFw7qrRP-7R4M:http://www.dcjazz.com/photo/lester.GIF Don't buy into ALL that Feminine Side Creamed Corn diatribe. Some Yeah, but not all! lb CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 Guys Guys, Basie's Wife used to tell Lester, "Hey Lester Why Don't you play more like Coleman Hawkins" when he was in the Basie Band. Coleman was of course the great Sax Innovator that took the Lead jazz instrument status away from the Trumpet to the sax in I believe the late 20's or 30's. Coleman was the Big Star of the Basie band then cause of his solo innovation. But all the Basie musicians ('40's) knew what the real score was with Lester, they knew he was the real deal innovator now on the sax because of how he approached his lines in a relaxed manner (VERY VERY MANLY TO MY EARS) yet beautiful and highly musical and creative. (NOOO fn stress, JUST LIKE A GUY IN HIS NATURAL STATE AT LEAST ALOT OF US I THINK! ) Coleman Hawkins had that, dare I say, Flacid Vibrato that always sounded (excuse me ladies) alittle limp dicked to me! Though he was a great player from a prior era. lb CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
Legatoboy Posted October 10, 2006 Share Posted October 10, 2006 The definitative solo of Lesters to study for jazz players and pianists is the "Lady Be Good Solo". . . . http://home.elp.rr.com/valdes/zOhLady.htm CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
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