Hi Ulrich, See below:
> On 2014 Jul 28, at 10:43 , Ulrich Joosten <[email protected]> wrote: > > Hello Arle, > > no apologies necessary. I think one of the worst developments in being online > is that everybody thinks everyone HAS to be available at any moment and HAS > to respond in the wink of an eye. I don't. ;-) > > Big thanks for your thoughtful remarks. > >> One of my first thoughts is that this would make an ideal online (HTML) >> resource, since that solves the clickable problems. > > I would be grateful for any support. Unfortunately I'm an old fashioned guy > without any html programming knowledge. I did my homepages with a mac website > editor by Sandvox, but I do not have any detailled coding experience. I > nearly died trying some "code injection" on this pages. So every help would > be very welcome. >> >> To emphasize the connection between the parts, you might consider adding >> "(Aeolian)" after "major" and "(Aeolian)" after "minor" in the slides that >> you start with. > > My notation knowledges is a bit limited, so what do you mean with adding > Aeolian after "major" and "minor"? I'm not sure if understand. What I meant is that when your slides reference something like "C minor", it would help reinforce the later section on modes if it read "C minor (Aeolian)" or "C minor (= Aeolian mode)" or something like that, so that users see that minor = Aeolian. I made a mistake in what I wrote, since it is "Ionian," of course, should be inserted after "major". > Slide 5, 14 and 18 are corrected in the updated version I've sent to the list. > >> After 19: Would you add Locrian as well? It's not commonly used, but for >> completeness it would make sense to include it. Similarly, if you ever want >> to get more ambitious, there are a lot of other modes that could be of >> interest. The obvious ones to add would be the melodic minors (although the >> fact that they are actually a pair of matched modes for ascending and >> descending passages would complicate describing them). Going a bit further >> afield, scales such as the Double harmonic scale >> (http://en.wikipedia.org/wiki/Double_harmonic_scale), which is one I use a >> lot in my playing, might be interesting. > > Of course I could add these scales. I'm not quite sure which one to use. I > saw that locrian has different versions, starting on different notes. Hm... Locrian is the only one of the classic church modes you don't have listed already, so that would be the priority. For C, Locrian would be C Des Ees F Ges Aes Bes C. It's really not a useful scale in most cases because the diminished fifth makes the scale want to resolve out to something else. >> Slide 20: this one I find interesting because the numbering is the reverse >> of piano practice. Given the centrality of piano fingering for many >> musicians, I think it might make sense to reverse the numbers, i.e, 1 = >> index, 2 = middle, 3 = ring. (And I'd note that this is French/older U.S. >> style for piano; for full correspondence with current U.S. and German >> numbering, I think 1 would equal the thumb. but I think this doesn't make >> sense for your purposes). > > That was a major mistake I made. I reverse that in an upcoming verison. These > fingerings are jus an example (inserted this word). Ahh. OK. I thought Thierry did it this way. I could see a very nice logic to it, actually, but just through that the centrality of piano knowledge argued to go another route. > Note: Thierry spares the pinky to use it as basic note finger to block a note > while his other fingers are used to play higher notes (e.g. chords) That is a nice technique I use a lot in my playing. >> More generally, the Weichselbaumer instrument you have has an unusual >> tuning. If you move this to a web resource, you could have an option to show >> it with the Weichselbaumer (open F), C/G (open G), and G/D (open D) tunings >> for the various scales. Then people could adapt it to their instruments. Of >> course this adds some complexity to what you are doing, but in the web >> interface I'm thinking of it would be really simple... > > On the first hand I made the file for myself. But I think if this shall be > published to a broader community I should remove the first two semitones to > come up with a regular scale. But maybe the Weichselbaumer kyeboard layout > may become more commom. I have to capos on this tones (on f# and g#) that can > easily be unlocked while playing. In combination with drones in G/A, E/F and > C/D (both capoed drones and trumpets) plus 2 mouche in C and G this gives you > a wide variety of possibilities. Neil Brooks actually has a very nice system he's designed for this. His F# key is connected to a harp sharping mechanism that normally keeps the string capoed at G, but when the key is pressed the mechanism rotates and opens the string to F#. The F key does the same thing but is coupled to the F# key so that it rotates two mechanisms and opens the string to F. I've not tried playing one like this, but it's a great idea. >> I'll try to look at it a little more in coming days and get back to you with >> anything else, but I hope the above helps > > Thanks for everything! No problem. -Arle -- -- You received this message because you are subscribed to the Google Groups "hurdygurdy" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [email protected] For more options, visit this group at http://groups.google.com/group/hurdygurdy The rules of posting, courtesy, and other list information may be found at http://hurdygurdy.com/mailinglist/index.htm. To reduce spam, posts from new subscribers are held pending approval by the webmaster. --- You received this message because you are subscribed to the Google Groups "hurdygurdy" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. For more options, visit https://groups.google.com/d/optout.
