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Poparad

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About Poparad

  • Birthday 04/18/1983

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    Akron, OH

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    Musician

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  1. I'll just add that I also have never once heard of this as "melodic major." Mixolydian b6 is the name I'm familiar with. Also, the name "melodic major" is misleading. That would imply that it's just like melodic minor but with a major third. However, that's just the major scale. There is a scale called "harmonic major" that is harmonic minor with a major third.
  2. I haven't spent much time trying to relearn my std notation. Be sure to practice safe sax when you do. For the guitar do we just use the Treble clef in notation (bass for bass parts)? Yes. The guitar actually sounds in both the treble and bass clefs, but it's bumped up an octave on the page so that it can all fit into just the treble clef. Originally a lot of classical guitar music was transcriptions of violin music, which is also written in treble clef, and thus guitar was written in treble clef. Bass is like that too, except that it sounds an octave below bass clef, and is bumped up an octave into the bass clef.
  3. I figuired that would be it. but i still don't really understanfd why they did this. its still the same notes so why not just use the same clef for both andf just indicate whether it is bass or treble. Wouldn't that have made things easier/simpler. It wouldn't line up then between the clefs. As shown in the picture above, treble clef takes over right when bass clef ends. If they were both the same, there'd be more notes between the staves, which in the long run would be a lot more confusing and more of a mess to work with. The treble and bass clefs were originally one clef called the 'grand clef' that had 11 lines, but it was so huge that it was difficult to read, so it was split into two, with the middle note, middle C, being that single ledger line between the two.
  4. Originally posted by ottobahn I'll bet those boys went by ear and instinct. If they sat down and dismantled their playing and tried to figure out the harmony theory behind it, they would lose the magic. That's a bunch of idyllic bullshit. Knowing what you're doing doesn't make it any less special; it only allows you to get there more quickly and make the magic more consistantly. They played things based around the chord tones of the chord progression. If one of them was playing the 3rd of a chord, the other would play either the root or 5th, either above or below, and then stay fixed in that interval (mostly) to harmonize the rest of the line, making adjustments as the chords changed to fit the harmony best. Whether you do it by ear or you know what the right notes are, or, better yet, use both tools, there's still a lot of creativity and choice involved, and it is never any less magic no matter how much you know about what you're doing.
  5. Um.... if they are playing in unison, then they'd be playing the same notes, so the interval would be a unison.
  6. Rhythm and texture have more to do with endings than the harmony. You can end a piece on any chord you want to, so long as you set it up right. With rhyhm, you can hold the chords longer at the end (whole notes, half notes) rather than continuously strumming them (typically eighth or sixteenth notes). With texture, you can have certain people in the band drop out, or you can play chords that are thinner (less notes), or in some situations do the exact opposite: keep building up and just abruptly stop. Another common tool to use is repetition. Try repeating the last chord or two, or last lyric, or add a quick riff to the end and repeat it a few times (three is always the magic number, from jokes to music, our brains seem to be geared to hear repetitions of three). Dig out some tunes you like listening to and figure out how they end the song, and take notes.
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