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Thread: List of Tendencies

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  1. #16
    Registered User
    Join Date
    Jan 2017
    Posts
    9
    hey Ken I got your book @B&N,
    I'm not finished yet but for now it's been really interesting to read,
    it's really the language of intervals and the listening to the sound thing.

    it's quite remarkable. congratulations.
    really, it's cool.




    Then not only does this 225:128 b7 sound different, it also resolves to a +5. A bluesy 7:4 b7 on the other hand is more resolved than a b6. So those two notes can be completely backwards
    OK for it. very nice and very important indeed.
    a bVII from the V is really not the same sound as a bVII from the +IV and neither is from the III.

    when you mean the maths back it up,
    it's just a ratio calculus then ? from the 5 the connection is a minor third interval, maj third from the +4, tritone from the III,
    I guess if we do the ratio calculus, the minor third from the 5 may equal the minor seventh up / whole step down from the I ?


    Then it even gets tricker because a 225:128 and a 7:4 are almost the same as far as intonation. So I can't play one without the possibly of the other being perceived instead. I have to connect differently, maybe even create a CT on +IV at first. After I learn to connect to it though, I can then get rid of the CT by not allowing the ear to build a Tonic there.
    that's very interesting to be able to back it up with the physics.

    if we connect melodically we can sound different ratios (different/distant sounds/color, even more than we think that's what you meant with bigger ratios ?) while we play with the same ET12 notes ? (thats very important indeed). We can play blue notes/dark/conflicting intervals or very bright/floating/distant/agreeing intervals (which sounds more like contemporary music) depending on the intervals (/ certain tendencies) we played before ?

    if we connect chordally voicing is super important in order to "select"/"counterbalance" the correct ratio/location we'd like for a note to sound at the moment,
    so voicing chords is about combining low/high vs simple/complex open/close tendencies to build more or less obvious/agreement ? (very important also).
    thank you Ken.
    Last edited by anatole; 03-10-2017 at 04:56 PM.

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