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Date: Thu, 13 Jan 2000 23:19:27 -0400
From: "Robert S. Howe" <arehow@vgernet.net>
Subject: Velveteen oboes
Reply-To: contrabass@contrabass.comA correspondent wrote:
"I've played the same Loree since 1985 (and purchased it
>quite used) and loved it--until this summer. It had become the Velvateen
>Rabbit of oboes--comfy and loved but tattered and leaky and falling out
>of adjustment on what seemed like a daily basis. "I played the same Loree (CY68) from 1973 to 1995. I loved it the whole
time and only realized that it was not perfect when (in 1995) I played a
friend's 10 year old Laubin in a pinch (my Loree was being repadded) and
got lots of comments from my unknowing friends about how fine I sounded
that night. I owned a new Loree 4 weeks later. Similarly, my Loree
English horn (GB93) seemed to me to be the finest made until I played a
new one at a rehearsal for the Poulenc Gloria last month.You see, horns are like slippers, the longer you use them the better
they fit you (and you, them). The trap of getting more and more
comfortable with an instrument, which is itself getting less perfect
with the years, is very seductive. One could tell the story of the
legendary British oboist Leon Goosens, who used a 1910 Loree for some 50
years (except for a hiatus while it was recorved from a theft in the
1950s). How does one, especially an amateur, avoid this?Robert Howe
---------------------------------------------------------Date: Fri, 14 Jan 2000 09:21:07 +0000 (GMT)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: Re: all that Jazz
Reply-To: contrabass@contrabass.comOn Thu, 13 Jan 2000, Grant Green wrote:
> I'm trying to think of which jazz musician advocated a theory of
> "polychords", chords made by combining two or more triads (or
> extended chords). Pat Metheny? Keith Jarrett? Anyone know off hand?Stravinsky? He certainly used them in, for example, 'The Rite of Spring' (1913).
Dave Taylor
---------------------------------------------------------
From: Michael Kilpatrick <mkilpatr@arm.com>
Date: Fri, 14 Jan 2000 09:43:05 GMT
Subject: Re: all that Jazz
Reply-To: contrabass@contrabass.com> From contrabass-owner@contrabass.com Fri Jan 14 09:22:05 2000
> On Thu, 13 Jan 2000, Grant Green wrote:
> > I'm trying to think of which jazz musician advocated a theory of
> > "polychords", chords made by combining two or more triads (or
> > extended chords). Pat Metheny? Keith Jarrett? Anyone know off hand?
>
> Stravinsky? He certainly used them in, for example, 'The Rite of Spring'
> (1913).Can any individual be creditied singularly with such an idea in jazz?
In jazz such ideas evolved over time from simpler harmonies, and some
people underestimate how long such ideas have been around.Anyway, when does a chord with lots of extensions cease to be a single
chord with lots of extensions and become instead two superimposed
triads?Michael
---------------------------------------------------------
Date: Fri, 14 Jan 2000 10:04:42 +0000 (GMT)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: Re: all that Jazz
Reply-To: contrabass@contrabass.comOn Fri, 14 Jan 2000, Michael Kilpatrick wrote:
> > From contrabass-owner@contrabass.com Fri Jan 14 09:22:05 2000
> > On Thu, 13 Jan 2000, Grant Green wrote:
> > > I'm trying to think of which jazz musician advocated a theory of
> > > "polychords", chords made by combining two or more triads (or
> > > extended chords). Pat Metheny? Keith Jarrett? Anyone know off hand?
> >
> > Stravinsky? He certainly used them in, for example, 'The Rite of Spring'
> > (1913).
>
> Can any individual be creditied singularly with such an idea in jazz?
> In jazz such ideas evolved over time from simpler harmonies, and some
> people underestimate how long such ideas have been around.Not really - I didn't mean that suggestion seriously.
>
> Anyway, when does a chord with lots of extensions cease to be a single
> chord with lots of extensions and become instead two superimposed
> triads?
>
> Michael
In one of Stravinsky's works (not sure which), there are superposed chords
of Eb7 and Fb, about as far apart as you're likely to find. However even
this could be viewed as an extended single chord of Eb-13-9 (the Eb chord
is lower), so the boundary is rather unclear.Dave Taylor
---------------------------------------------------------
From: Michael Kilpatrick <mkilpatr@arm.com>
Date: Fri, 14 Jan 2000 09:37:43 GMT
Subject: Re: Chord symbols
Reply-To: contrabass@contrabass.com> From contrabass-owner@contrabass.com Thu Jan 13 21:21:51 2000
> But chord symbols are NOT designed for analysis, but to provide a framework
> for performance. And they are absolute, not relative to a tonic at all.
> An F#maj9 includes F#, A#, C#, E, and G# no matter what the key signature
> is, and no matter what key you happen to be in at the time. The "good old
> add9" always means to add the 9th OF THAT CHORD, not of the scale of the
> key. (Most folks are using the form C2 rather than C add9 these days.)Hey? C2? Never seen such a thing. C9, Cmaj9, C69, yes, but never C2.
Michael
---------------------------------------------------------From: Kadamasuta@aol.com
Date: Fri, 14 Jan 2000 18:21:58 EST
Subject: Re: Chord symbols
Reply-To: contrabass@contrabass.comIn a message dated 1/13/00 4:22:36 PM, John.Howell@vt.edu writes:
>OK, this is all a little confusing (or maybe it's just me!), but let me try
>to answer. What do you mean by "chord changes without full-figured
>harmony"? Chord changes are a shorthand way of telling you exactly what
>the harmony is.I geuss what I meant by "full figured" Harmony was no a "fat sound" :) but voicing e.e.:
the sign: In place of triangle or M, maj7 I will use as triangle.
the =D8 symbol: Half Diminshed will use a =D8 symbol
/ =3D acsending arpeggio
\ =3D descending arpeggio[Editor's Note: the diagrams didn't translate, came through too mangled to reconstruct]
It's not so much lack of familiarity with reading symbols, I get confused. Especially with augmented and dimimished structures e.g. those from ascending and descending melodic. The tend to gravitate (for me) into stuff right out of the Slonimsky Thesaurus, if not then I find it difficult to find where the changes really are. In truth I get lost out of bordom and try and find my way back with mathmatical figures e.g. intervals derrived from # of octaves divided into equal parts creating an interval + interpolation which cycles close to the key of the tune. What is out becomes a resolvable embelishment -hopefully.
I supoose I'm just searching.
k
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