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Thread: List of Tendencies

  1. #31
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    For some reason I keep getting an "error loading file" at the freejazzinstitute. I've tried like six times. Sorry.

  2. #32
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    Quote Originally Posted by motherlode View Post
    @Ken Valentino
    It was the respondent's distorted example that raised my ire...

    Oh Ok I understand. I read through too quick.

  3. #33
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    Ok I figured out what was wrong. There seems to be a limit to how long the audio files can be. So I at least have Positive Tonal Numbers posted now. http://freejazzinstitute.com/showpos..._Ken_Valentino

    Oh and if you hear something that sounds like a deflating balloon I apologize. We have a new puppy that apparently wanted to contribute.

    Direct link to +4 +5 and b3 http://freejazzinstitute.com/uploads..._Valentino.mp3

    Direct link to 4 b7 and b2 http://freejazzinstitute.com/uploads..._Valentino.mp3
    Last edited by Ken Valentino 2; Yesterday at 07:13 PM.

  4. #34
    Registered User motherlode's Avatar
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    @Ken Valentino

    The sound makes it real.

    re: example#1
    The (+5) is very appealing in that setting. I just played along, shadowing you (I'm playing a horn). I noticed that you were reinforcing the 'A'... that was very helpful.

    re: example#2
    This is deeper. I'm letting you make the first move, and I lag behind...then I come to you and let you make the next move.



    Last edited by motherlode; 07-17-2017 at 11:13 AM.

  5. #35
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    That's great!! Thanks for the feedback.

    Yeah the +5 was really challenging at first. I think I'm getting better at it, finding good routes to take. I'm striving to get as sweet and resolved as possible.

    I hadn't thought of it as being good to jam with, but that makes sense (If you happen to record some I'd love to hear it by the way). I have done some random listening to double check that I'm not adding a bias conceptually. In other words does it sound that way because I'm thinking that's what I want, or does it retain the sound even on a fresh random listen.

    I'll get to work on the blue notes next.

  6. #36
    Registered User motherlode's Avatar
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    @Ken Valentino

    I hadn't thought of it as being good to jam with...
    I'm not adding anything, I'm just following along, and really listening...but listening for 'nothing'. If I'm listening for 'something'... I'm bias.

    I want to go back to the 2nd example for a moment. This example tells me a lot about your musical state of mind. It's very difficult to get to that point...if ever.

    You should always consider short audio examples with your writing.

    This example made me laugh, that's how I know it's good...

    Last edited by motherlode; 07-18-2017 at 04:10 AM.

  7. #37
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    Awesome! Yeah I think you're right, I'll try and do that from now on.

  8. #38
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    Blue Tonal Numbers

    Ok we'll eventually get through examples of all 12 notes as Blue numbers, but we need to start with a very short but important example.

    http://freejazzinstitute.com/uploads..._Valentino.mp3

    At first harmonics are played. The last harmonic played is 1:7. Having a 7 in a ratio makes it a Blue Tonal Number.

    For every other example just standard E.T. tuning is used, I avoided bends etc.. We want to perceive it like the intonation of the harmonic, even though technically on a tuner it isn't.

    This can affect many things. Once a Blue Number is perceived then further connections can potentially become Blue Numbers. In the last example a positive blue b3 is attached. The result being that we could even have a resolved dom7(#9) as a Key Chord. Maybe that's why someone would feel the label #9 made more sense than b3.

  9. #39
    Registered User motherlode's Avatar
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    @Ken Valentino

    Great presentation of the material.

  10. #40
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    Ken

    I'm reading your book, and thoroughly enjoying this further exposition of material. Thank you for sharing.

    Regards
    Tom

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