Re: [Finale] Another Chord Question
Christopher Smith / 2006/04/30 / 03:47 PM wrote: it really gets interesting with composers such as late Duke, Gil Evans, Clare Fischer, Bob Brookmeyer and Maria Schneider. Hm. It always puzzles me when George Russell isn't mentioned among them. When we play in Europe, we usually make sold out shows with great reviews, but never on this continent. Nothing personal, Christopher, of course :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 9:39 AM, A-NO-NE Music wrote: Christopher Smith / 2006/04/30 / 03:47 PM wrote: it really gets interesting with composers such as late Duke, Gil Evans, Clare Fischer, Bob Brookmeyer and Maria Schneider. Hm. It always puzzles me when George Russell isn't mentioned among them. When we play in Europe, we usually make sold out shows with great reviews, but never on this continent. Nothing personal, Christopher, of course :-) Well, George is an important and influential composer for sure, but I never knew his harmony was noted for being linear. I always enjoyed his mixed-modes approach to harmony and his layered counterpoint, which is not quite the same thing, though of course it is great-sounding and well-established. Please correct me if I am wrong, as I am far from an expert on his music. I would be happy to include his name in my usual lists from now on! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Christopher Smith / 2006/05/01 / 10:06 AM wrote: Well, George is an important and influential composer for sure, but I never knew his harmony was noted for being linear. This is pretty OT so we should stop soon :-) Yup, they are linear all right. His Lydian Chromatic Concept of Tonal Organization theory is all about linear motion to the tonal gravity, as he calls it ;-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote: By the way, if the first chord, the correct version: G - F - Cb - Eb - G - Bb is supposed to be reproduced exactly how it is, it must be spelled 'Eb over G7'. Thanks for the ongoing discussion about this!! I'm learning a lot from you all! Okay - so it's appropriate to actually put a double decker chord symbol, such as Eb/G7? Is this common practice these days?! Just never heard of doing that :) Thanks again! Jacki ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 2:36 PM, Jacki Barineau wrote: On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote: By the way, if the first chord, the correct version: G - F - Cb - Eb - G - Bb is supposed to be reproduced exactly how it is, it must be spelled 'Eb over G7'. Thanks for the ongoing discussion about this!! I'm learning a lot from you all! Okay - so it's appropriate to actually put a double decker chord symbol, such as Eb/G7? Is this common practice these days?! Just never heard of doing that :) Nah, no need to do it that way. Pianists get a cue for how to voice it, but everyone else gets slowed down. Replace must be spelled with could be spelled and you have it. G7(b13#9) by modern standards or more traditionally G7(#9#5) are the standard ways to spell it, always with the higher number stacked over the lower number inside parentheses. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Jacki Barineau / 2006/05/01 / 02:36 PM wrote: Thanks for the ongoing discussion about this!! I'm learning a lot from you all! Okay - so it's appropriate to actually put a double decker chord symbol, such as Eb/G7? Is this common practice these days?! Just never heard of doing that :) It's called Poly Chord, and it is spelled as Eb -- G7 The first purpose of spelling Poly Chord is to give players no freedom of adding their own tensions, so the chord will sound exactly as the composer wanted. This is common practice to altered dominant chord. The second usage is to create upper structure voicing, i.e., D over C Maj7 instead of C Maj7(#11). I personally do not like how most pianists voice Maj7(#11) chord. In the similar line, when you don't trust your pianist, this is a safe way. I once had a pianist who doesn't read my head line, and I was concerned when the melody in the head holds on -3rd, and I was so sure this pianist will voice 9th. The only way to play safe in this scenario is to write out the poly chord, or fire him, which I couldn't :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
At 20:36 01.05.2006, you wrote: On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote: By the way, if the first chord, the correct version: G - F - Cb - Eb - G - Bb is supposed to be reproduced exactly how it is, it must be spelled 'Eb over G7'. While I can agree with the Fsus/G for the faulty chord, I don't like the Eb over G7. This is normally used for bitonal chords consisting of 2 triads. G7 can have dozens of voicings in jazz, so it's not very exact. I would spell the correct chord as G7 #9 b13 and use an alterated scale over it. For the faulty chord I would use a cminor scale or c pentatonic minor scale, I think. Anyway, I would spell the Cb as B. Well, well. Interesting subject, isn't it? Kurt ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 3:21 PM, A-NO-NE Music wrote: Jacki Barineau / 2006/05/01 / 02:36 PM wrote: Thanks for the ongoing discussion about this!! I'm learning a lot from you all! Okay - so it's appropriate to actually put a double decker chord symbol, such as Eb/G7? Is this common practice these days?! Just never heard of doing that :) It's called Poly Chord, and it is spelled as Eb -- G7 The first purpose of spelling Poly Chord is to give players no freedom of adding their own tensions, so the chord will sound exactly as the composer wanted. This is common practice to altered dominant chord. The second usage is to create upper structure voicing, i.e., D over C Maj7 instead of C Maj7(#11). I personally do not like how most pianists voice Maj7(#11) chord. In the similar line, when you don't trust your pianist, this is a safe way. I once had a pianist who doesn't read my head line, and I was concerned when the melody in the head holds on -3rd, and I was so sure this pianist will voice 9th. The only way to play safe in this scenario is to write out the poly chord, or fire him, which I couldn't :-) G7(b13#9) doesn't give the pianist much choice about what extensions to add, either, so either one will fill the bill for a pianist. A guitarist, or an improviser, on the other hand, might hesitate a moment over a polychord, which is something one generally wants to avoid. May I suggest that if you want exact voicings (which I don't, usually) then chord symbols are not the way to go? They are by necessity a shorthand, designed to GIVE freedom to the performers by cutting down how much the composer insists on. Generally if I want exact voicings, I write out the voicing, and often add a chord symbol anyway so that the player can read it faster. But I recognise that many performers and composers have different preferences in the way they like things notated. I, in my own music, have not had much success with forcing players into a way of playing that they are not comfortable with, as the music invariably suffers for my point of view. If somebody asked me for polychord notation, I would not hesitate to provide it. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
Christopher Smith / 2006/05/01 / 03:35 PM wrote: G7(b13#9) doesn't give the pianist much choice about what extensions to add, either, so either one will fill the bill for a pianist. There are a lot of pianists switches from #9 to b9 and add b5, or even play tri-tone sub. Don't get me wrong. I am all for freedom. I hire piano, guitar, and vib players by their comping creativity. It is the biggest part of the deal how they voice for me. In that, I don't write poly chord except the ending chord. A lot of my favorite musicians likes to noodle on the ending chord which I am not too crazy about. On the other hand, when I write big band chart, most of comping are written in poly chord because this is the only way to make sure they don't crash with horn voicing. Generally if I want exact voicings, I write out the voicing, Ur, around here, if you want to play with grooving doods, they don't read notes that quickly :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Calling d collins
Hi Dennis, You asked for some PDFs etc on the list, but everything just bounced back to me today. Just FYI, as I've since deleted them. :( Thanks, The Other ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 12:51 PM, A-NO-NE Music wrote: On the other hand, when I write big band chart, most of comping are written in poly chord because this is the only way to make sure they don't crash with horn voicing. Hi Hiro, Don't comp when there are voicings in the horns. works for me. (Of course, this is an oversimplification, but it's a good place to start.) Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Another Chord Question
On May 1, 2006, at 12:51 PM, A-NO-NE Music wrote: On the other hand, when I write big band chart, most of comping are written in poly chord because this is the only way to make sure they don't crash with horn voicing. Hi Hiro, Don't comp when there are voicings in the horns. works for me. (Of course, this is an oversimplification, but it's a good place to start.) Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com Too much comping in a big band setting makes the band sound smaller. Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] guitar/TAB question
At 10:36 PM -0400 4/30/06, Darcy James Argue wrote: You want the guitarist to tune their top E string up by *eight semitones*??? I'm not a guitarist, but my strong suspicion is there's no way to do that without serious risk of breaking the string. It sounds like this part is not playable on a guitar without an extended fretboard. Other fretted instruments (i.e. viol and lute) can easily play above the frets. Can classical guitars? Can electric guitars? Darcy's right; the strings will break. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
