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From: Kadamasuta@aol.com
Date: Sun, 16 Jan 2000 02:18:07 EST
Subject: Re: About Chords
Reply-To: contrabass@contrabass.com>>From: Michael Kilpatrick <mkilpatr@arm.com>
>>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?
>
>It's the way they're used rather than the spellings. If the voicing
>emphasizes a polytonal feeling--often using just triads--then it's a
>polychord. If there's a strong sense of chord root, it's extensions.
>
>>Hey? C2? Never seen such a thing. C9, Cmaj9, C69, yes, but never C2.
>
>It turns up a lot in Contemporary Christian, more than jazz. It's used
>when you want to add the second degree of the chord, but specifically do
>NOT want a 6th, minor 7th, or major 7th along with it--a sound very popular
>in CC music. And it's almost always used as a 2, crunched in with the root
>and 3rd, and not in an upper octave as a 9.The 2 / 9 segregation in a figured harmony makes great sense because of the
ability to treat differently the the presence of both a 2nd and 9th
independantly as more than a p8/o8/+8 apart from each other. Here we can have
anything from a M2 to a b9 (dim whole tone; an integer to any viable pivot)
or (Maj7 altered as a pivot to: ?); a m2 and M9 - simile; chromatic, passing
or to #III to:: I/II/IV/V - ?; or ); a tonicsiation or extension of a/or
chromatic feel which may or may not be equivalant to one triad over another
depending on the relation to a polytonal harmony, an altered chord, or
extension depending on where the fingers.head is gravitating to....
But if we're talking b5, b9 or #5, b9 - it can also be introjected the the
inter/infra/intrapolation of a -2/ma2 may alter to any key at any given space
in time any key depending on the amount of actave the interval(s) ar/wil be
derrivitave of/from.>The final chord in the credits for Star Trek: Voyager is a little
>different, and could also be notated C2. It uses the 2nd degree of the
>chord but omits the 3rd. In that case the notation would imply a suspended
>(and unresolved) 2 rather than the more usual suspended 4 notated as C4 or
>Csus.
>
>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:John.Howell@vt.edu)
>http://www.music.vt.edu/faculty/howell/howell.html
---------------------------------------------------------From: Kadamasuta@aol.com
Date: Sun, 16 Jan 2000 11:40:21 EST
Subject: Re: About Chords
Reply-To: contrabass@contrabass.com<John.Howell@vt.edu> writes:
>>The final chord in the credits for Star Trek: Voyager is a little
>>different, and could also be notated C2. It uses the 2nd degree of the
>>chord but omits the 3rd. In that case the notation would imply a suspended
>>(and unresolved) 2 rather than the more usual suspended 4 notated as C4
This helps. Thanks I have been giving too much emphasis to the third by
including it along with the 2 and 9 when they differ, either as a passing
note (even to or from the 10th), part of an arpeggio, or in some cases to
avoid a tritone; even on ocaassion to use tritone progression to imply a
tonal change or superimpose other harmony for a couple bars.Sorry about my confusing remarks from the last post. I meant interpolation
intrapolation, and ultrapolation of an interval; which can also be done with
a tritone progression (the division of 12 tones into 2 parts). I like it as a
way to move up an octave---------------------------------------------------------
From: Kadamasuta@aol.com
Date: Sun, 16 Jan 2000 12:06:51 EST
Subject: ooops.. Re: About Chords
Reply-To: contrabass@contrabass.comthis keyboard likes to short out when it is moved a bit, and lets the mail
just go sometimes. I'm sorry.I wanted to finish what I was saying I was using too many tritones and
embelishments and extensions of them because I got into the habit of trying
to include too many notes in a chord. This I suppose is pretty amature
playing e.g. read a 7, b5, b9 and emphasize it as tritone progresssion with
the interpolation of a min 2. all this junk that it would have been simpler
remember omitting certain intervals.I think it will all change for me and get better when I can get an octave
below the bass clarinet (or even deeper). It's too bad they don't make
octocontralto clarinets. I' bet they'd have orders in the hundreds!
---------------------------------------------------------From: Opusnandy@aol.com
Date: Sun, 16 Jan 2000 17:33:08 EST
Subject: Re: ooops.. Re: About Chords
Reply-To: contrabass@contrabass.comIn a message dated 1/16/00 11:07:24 AM, Kadamasuta@aol.com writes:
<< It's too bad they don't make
octocontralto clarinets. I' bet they'd have orders in the hundreds! >>Well, that was the problem. The octocontraalto (and octocontrabass)
clarinets were available to anyone who could afford them in Leblanc's
catalogs for awhile. Only two or three octocontraaltos and zero
octocontrabasses sold, so they were discontinued.***End of Contrabass Digest***
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