I always thought Depeche Mode's chord progressions sounded a bit odd. This explains why
#DepecheMode #MusicTheory
https://reverbmachine.com/blog/depeche-mode-chord-theory

I always thought Depeche Mode's chord progressions sounded a bit odd. This explains why
#DepecheMode #MusicTheory
https://reverbmachine.com/blog/depeche-mode-chord-theory
To paraphrase Groucho: it may look like an obstacle course, and it may sound like an obstacle course, but don't let that fool you—Giant Steps really is an obstacle course.
Kinda neat structure though: on the macro level it cycles through the tonic-subdominant-dominant Lendvai axes (or "diminished parents": red = Gº, green = Bº, blue = Ebº); on the micro level all the chords are assigned to their own Weitzmann region (or "augmented parent") based on function (tonic = yellow = B-G-Eb, dominant = cyan = D-Bb-F#, subdominant = orange = Am-Fm-C#m) and follow either a V-I or ii-V-I pattern.
I've been developing a method for learning and playing western music based on some unconventional but no new concepts.
It takes ideas from Bela Bartok, Barry Harris, John Coltrane, Pat Martino and two relatively recent projects; HAVISY and Meta Harmony.
My departures from said works consist in aplying the concepts on "all minor thirds" tuned string instruments, ditching note names in favor of duodecimal notation and how that enables a one to one correlation between the mental representation and the instrument.
For me, after thirtysomething years trying to actually get music, it feels like a revellation. It took me from perpetual novice to interesting harmonic improvisation in a few days.
So I whant to share it in the hope that it will probably help others.
I won't claim that this is THE method. It is just what works for my terribly monotropic and glitchy brain and will probably help you if that's your thing too.
A thread...
#musictheory #musicharmony #guitar
My spouse @arendleejessurun at 2am: "Honey I can't stop thinking about the John Coltrane pentatonic scale, help."
Sigrun Heinzelmann and the How and Why of Learning https://www.youtube.com/watch?v=ibMz2J_7_2Y
To make a very long story short, I am forty-one and became interested in opera in February of this year. I had been listening to operetta for several years by this point, with special attention to the works of Ivor Novello and Franz Lehar, always preferring original cast recordings, or at least older ones, when possible. Even now, all of the opera singers I like were born prior to 1923. I am interested in learning how to sing for pleasure, and possibly for performance, though not in full operas, as I am totally blind and I wouldn't feel comfortable doing that. I would most likely be singing Neapolitan songs, Italian art songs, a few English parlour songs, and some arias that I enjoy. I am untrained and my voice type has not yet been designated. However, , this is a post that I made reguarding my own discoveries about my vocal range. To summarise, I am a woman, but I feel most comfortable singing in the tenor range and would prefer to stay there. I don't like how high composers force contraltos to sing.
reddit.com/r/opera/comments/1k…
I adore the tenore di grazia voice type and also enjoy lyric tenors. My favourite singer is Tito Schipa, and I wish to learn what he taught, or at least, what he learned. I have the ten exercises that he recorded, including short narrations for each. I wrote about them here, with a transcription of the Italian and an English translation. This way, you will know the school of thought that I am attempting to follow. The one thing I cannot find is the booklet that came with said exercises, which offers more guidance than the record.
reddit.com/r/opera/comments/1k…
Since Schipa left little behind, I began researching his teacher, Alceste Gerunda. It is true that he technically started with Giovanni Albani, but hardly anything is written about him at all in Schipa's biography, and it seems that Gerunda was the one who gave him all of the exercises in any case.
reddit.com/r/opera/comments/1k…
reddit.com/r/opera/comments/1k…
I learned that Gerunda was born in 1847, and that his teacher was Saverio Mercadante. Neither left books, exercises, or published notes. But I found the school where Gerunda taught prior to opening a private one in his home. It has since become a library. They have two books on him that I want and that may shed light on some of his teaching practices. These are "ALCESTE GERUNDA E LA SCUOLA LECCESE DI CANTO" by Silvia Mandurino (ITES 1969) and "IN MEMORIA DEL MAESTRO ALCESTE GERUNDA NE L'AVVIVERSARIO PRIMO DE LA SUA MORTE" by Giulia) Lucrezi (Palumbo.
biblioteche.regione.puglia.it/…
Perhaps, there are anecdotes within them that can help me. They may also have the books that he used to teach, assuming he used any. I have written to them asking if they could assist me, but haven't yet received a response.
In the meantime, I am trying to find information about the pedigogs of his time, so that I can at least learn the ideas and methods that he may have passed down to Schipa. But, of course, there were as many schools of thought as there were teachers. To make matters worse, Gerunda and Schipa themselves appeared to differ in their teaching style. While the former would tell the latter when he made mistakes in exercises, Schipa seemed to just give them and play the piano without giving much commentary. Ironically, Mercadante is said to have taught like that. From what I understand, if I did follow the regular bel canto style, I would need to work on notes, then scales and arpegios, then ornamentation, then songs/arias, all of this taking many years. It seems that Schipa didn't work on breath control, individual notes, tone, tamber, and so on with his students but went straight to vowels and scales. I don't know if this is from his own teacher or if it was his personal philosophy. I have definitely heard of the breath-first and larynx-first schools of thought, so it could stem from there.
People keep saying that i need to see a teacher, but most charge $100 or more per lesson, and at that rate, I can't afford more than two lessons per month. Plus, I want to find someone who knows the old ways, not modern ideas and terminology that I will need to unlearn. As it is, I am already studying harmony from "Harmony its theory and practice" by Ebenezer Prout, and Italian from "An Italian conversation grammar" by N Perini. It's just voice that is giving me a problem.
A cheat-sheet I made to quickly read arbitrary notes on a staff or ledger line.
How do music people just HEAR a chord and instantly know ... which chord it is? Like all the exact notes that make it up?
Me: Noob: *tries to recreate / figure out a sound with only single notes and is totally lost bc it's actually a chord being played*
Skill and practice sure but I'd be curious to hear some tips/tricks if there are any.
I have always been enchanted by the Mozart's Queen of the Night aria 'Der Hölle Rache' from Die Zauberflöte.
The singing is magical. How did he construct this? And so I down loaded the musical score to find out.
I notice in the excerpt below the use of staccato repeated notes followed by singing up and down chord triads - I think this must be challenging to sing!
TIL that the Swiss railways uses different announcement jingles, depending on which language region you're in. And each jingle corresponds to the language's acronym for the railway company, interpreted as German note names:
- German: Es-B-B (Es = E♭, B = B♭)
- French: C-F-F
- Italian: F-F-Es (Es = E♭)
Discovered 7-EDO (equal divisions of the octave) is a fun tuning system for playing blues. The 3rd is somewhere between a minor and a major 3rd, making it a neat approximation of the blue note. The fourth is kinda sharp, and the fifth is kinda flat, so they also kinda enclose the flat 5 scale degree.
Is there any kind of symbol/articulation/whatever, by any rare chance, to indicate that a specific arpeggio played with a piano over a chord must be done as fast as possible?
The Art of Fugue – Contrapunctus I (2021)
https://www.ethanhein.com/wp/2021/the-art-of-fugue-contrapunctus-i/
the 13th #harmonic is a 13th, the 11th an 11th, the 7th a 7th and the 3rd, of course, a fifth
somebody fix it
#Pantheon the #anime - 3 episodes in. It scrootches so many things for me. #Food #MusicTheory #Existentialism #TheSingularity #Reality and more. There’s #triggering stuff too, but the story exceeds my discomfort.
Sunday #DailyTracks: So Circa 2021 and > 42 million active cases the #Covid #Pandemic was no gift. But it did gift us with a ton of #Music, #Art and #Instruction that continue to inform and inspire-
The #Yellowjackets #BobMintzer and #RusselFerrante #Lockdown
#Masterclass
#MusicEducation
#MusicTheory
#AllLevels
Masterclass with Bob Mintzer and Russell Ferrante
https://youtu.be/EdJIbJrY7RQ?feature=shared
旋宮圖簡介brief introduction of Hsüan Kung Diagram
終於,我完成了旋宮圖簡介頁面!
Finally, I have completed the brief introduction page of Hsüan Kung Diagram!
Available in 漢語, English, 日本語, 㗂越, 韓國語·朝鮮語!
#音樂 #樂理 #音樂理論 #中華 #中國音樂 #國樂 #民樂 #中樂 #華樂 #網頁 #編程 #music #musictheory #theory #chinese #chinesemusic #web #webpage #webpages #javascript #html #css #音乐 #乐理 #音乐理论 #中华 #中国音乐 #国乐 #民乐 #中乐 #华乐 #网页 #编程 #音楽 #中国 #旋宮圖 #旋宫图 #âmnhạc #amnhac #trungquoc #중국 #음악
Hey, look! My new album picked up another fan review! Our latest fan reviewer is a fellow musician (or music nerd) who rightfully identified the use of the Lydian mode in one of the tracks. Read their review and hear it for yourself:
https://etherdiver.bandcamp.com/album/the-mechanics-of-mysticism
Cadence Hira is the coolest nerd on the internet.