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Guitar chord forum - chordie → Posts by jerome.oneil
There's clarinets in A and F, too! E clarinets are piccolo, so I doubt that's whats up with it. Almost every "student" clarinet I've seen is a Bb, though. It's what they start the kids out on. Nothing quite like the sound of 35 5th graders banging out Christmas songs on clarinets.
Anyway, the important thing is that she's keyed differently than the OP, so a little bit of transposition (in whatever direction) will have them dueting in no time.
You're right about Bb clarinets, Jerome. What doesn't make sense is that, as far as I can make out, when fatstring's daughter plays a notated G, it should come out a whole tone lower. That would be an F, not a G#, which is a half tone higher. It's weird!
Yep. *That* I would attribute to instrument tuning and new reed players. 
It is in fact supposed to be that way. Your bass, guitar, piano, etc are "Concert Pitch" instruments, which generally means C on the stave is tonal C. But when composers were writing music for these instruments, they found that the pitch they produced meant that the vast majority of the notes would be either way above, or way below the stave, so they merely transposed the notes up or down the staff to accommodate that.
So tonally, a C is a C is a C. But when your daughter's teacher taught her that "this is the fingering and embochure for a C," what comes out of the clarinet is a Bb.
But look at the bright side. You're dealing with two instruments. Imagine what the guys that wrote symphonies and operas had to deal with. 
There isn't anything wrong with the clarinet. They are tuned to Bb, which means that standard C for her is going to be Bb for you. Lots of wind instruments are like this. They call them "transposing" instruments. I played a whole lot of G bugles over the years, and it took a little bit of getting used to the idea when you were trying to accompany them.
Just remember that you're a whole tone down from where she is, and you should be able to play along together in no time.
We only do two covers in our set list, and they're both Cash covers. We open up with Folsom Prison Blues, and we work Don't Take Your Guns to Town in there somewhere.
Teles usually have single coil pickups as well, which lends to that distinctive twangy loveliness, as well as a low freq buzz with the amps.
jerome.oneil wrote:Seattle has the same policy, and it's ridiculous. I have on my list of things to do "Get arrested for Busking without a License."
It's good to have goals.
- Zurf
Indeed!
I think if I'm on the corner singing protest songs, I can claim 1st amendment protection. If I stood there and gave a speech on oppressive government suppressing the arts, they couldn't do anything about it. Put a guitar in my hands, and I'm a criminal. Where's the sense in that?
I need my mug shot updated, anyway.
The reason it sounds as "powerful" (partial pun intended) as it does is because of the overtone series which creates the third in a way which is more detailed than i care to explain, but suffice it to say that the third is there, but not in the traditional sense that would be associated with in chords.
Please do go into detail! The physics of sound is well beyond me, but I know waveforms do strange things when blended and mixed. I'd be really interested in hearing about it.
Thanks Jerome, is this MIDI kit a digital recorder kind of thinge or a program like audacity and reaper? either way I appreciate your contribution
jerome.oneil wrote:I have access to Rason, which is a pretty good MIDI kit. I won't pretend to be competent with it, but if anyone has tracks they'd like something added to, I'm happy to see what I can do.
Reason is more of a music generating kit. Think MIDI control surfaces and virtual effects. It's quite powerful.
http://www.propellerheads.se/products/r … what-is-it
It doesn't do recording, but it does give you lots of stuff you can do to edit and master recordings you might have. I use it a lot for composing and arranging.
www.last.fm is also really good, and free.
Seattle has the same policy, and it's ridiculous. I have on my list of things to do "Get arrested for Busking without a License."
I have access to Rason, which is a pretty good MIDI kit. I won't pretend to be competent with it, but if anyone has tracks they'd like something added to, I'm happy to see what I can do.
So day II was the last two remaining vocal tracks and then some rough editing. This is the 1st time I've had to hear my voice outside of a stage monitor, and I gotta tell you, I have other favorites. We've all got copies of the unmastered tracks and we'll spend a few weeks listening to them, taking notes, and then we'll get back with the studio with our comments for mastering and final mixdown.
WRT using a producer. A producer can be a great benefit, as he has ideas and no biases, so as a disinterested 3rd party, can offer up valuable advice. A producer doesn't have control. The guys paying the producer have control, and in this case, that's us. We used him as a valuable resource, and he contributed heavily to the recording. It was worth every dime.
Now if we could only sing!
Exactly what Russell says.
Technically what you're doing by adding the additional G is called an "inversion" but it's still a valid C chord. It's easier to visualize inversions on a keyboard, and they really make more sense there, but what it amounts to is playing a chord with a note other than the root as the base.
Inversions of C
C major
C E G
1st inversion
E G C
2nd inversion
G C E
Hey this is great! Thanks, folks, for your info, especially Jerome.oneil. I'm going to see if I can find that book at the library.
I only flipped through it before I made a determination that much smarter people than I wrote it, but if you can get the gist of it, please please please come back and give us a layman's explanation of it.
The answer to either D or D7 is yes to both of them. By just building triads (three note chords), you'll play D major. If you're playing 7ths, it's D7.
Let's take a look at that.
G major:
G A B C D E F# G
So from the 5th, we're in myxolidian mode. So the scale we build the D major from is
D E F# G A B C D
and D major is D F# A
If we add the 7th of that modal scale it becomes D F# A C, or D7.
A couple of things to take away from this.
1. This is why myxolidian modal scales play so well over 7 chords.
2. This is primarily why we play dominant 7ths (flatted 7) chords rather than the pure maj7 chords. The D major scale has a C# in it, so a Dmaj7 would reflect that.
So you can play the D major or the D7 in the key of G, and you'll still be harmonically correct. They both fit.
For the record, I gig semi-weekly, and have two students. I've been formally trained since 5th grade. I've toured nation wide with nationally ranked DCI caliber drum corps. I've played in jazz and big bands for the majority of my life. I also read standard notation, and know that the OPs question was simply, "How can I determine the rhythm of the songs on Chordie?"
And the undeniable answer is that you can't. Tabs don't provide for it, nor does chords charts. Standard notation provides a way to document every inflection, ghost note, mute, accent, and any other thing the artist may want to provide.
If it sounds flat, that's as a result of the performer, not the notation. Standard notation is used by every school. You don't finish Julliard or Berkley or Cornish without it.
So, do we need it to play the guitar, particularly given the really simple structure of most of the songs here? No. Is it the best way to demonstrate rhythmic intent? Yes.
jerome.oneil wrote:Well, Mozart, Beethoven, Paganinni, etc... seemed to do pretty well expressing their art using standard notation, so I can only assume you have either very limited musical experience (probably self taught?), or don't read it. I'm going to guess a little bit of both.
Standard notation provides you the tools necessary to describe inflection, tempo change, volume, and every other aspect of song that you might care to know about. It's the medium that artists use to express music. Your feelings on the matter don't change that.
If you want to call playing music professionally for 25 years and supporting my family by doing so, then I guess my musical experiences are "limited". I played 375 gigs last year, taugh 26 students how to play guitar. After a few lessons on general instrument knowledge and notes and chords, I make an asessment of my students level and ask them which songs they'd like to play. If the song is comprable to the students level, I learn the song and teach it to the student. Works very well for student and instructor. That's my "limited experience"! How many gigs did you play and many students paid you to teach them how to play guitar? Just curious........
I don't know if you noticed or not but Chordie is a guitar tab, guitar chord and lyrics site.(just read the logo) Tabs and chords are much more effective, practical, and applicable than standard notation for the beginning/intermediate guitarist. And I can't say for sure but I'd venture a guess that the beginning/intermediate guitarists make up the vast majority of members here on Chordie.
Refrain from attempting to insult me as a musician, you're way out of line in doing so.
I Hope You Have a Wonderful Day,
SouthPaw41L
I'm well aware of your experience, Toney. What I don't see in all of that is "I know how to read standard notation." If you read standard notation, you'll know that there is no tabulature on Earth that can express the same musical intent.
Which is exactly my point. Tab does not show you anything about rhythm. And your idea of just listening to the song is only workable if you're playing someone else's music but is otherwise of no value.
How do expect to listen to a song that isn't recorded anywhere?
I had an interesting bit of Kismet today. I was in the studio control room with our engineer, and this very topic came up. He had a book called "Acoustics and Psychoacoustics" which went into the gory details of how your brain hears sound, how sound can be shaped and manipulated to evoke emotion, and some of the ways that gets done.
http://www.amazon.com/Acoustics-Psychoa … 0240516095
It was waaaaaya over my head, but there it is if anyone is interested in reading it.
So, apparently people *doo* know how that works.
Protection is already free. All you have to do is write it down.
A word of warning about using chordie for copyright purposes. You are using a method that depends upon the site's goodwill to hold your copyright. Your copyright will depend on the integrity of the server that holds the information and upon the site's policy on backing up memory. I have experience (on other sites ) of both of these being compromised at different times. I would also wonder about the possibility of hackers using the comment editing facility to change original posts - are the changes noted by chordie ?
Those are valid points. It would be worthwhile to print it out, too.
A site promising free copyright makes me wonder. Copyright is already free. What service is it that they purport to provide?
jerome.oneil wrote:patrickthered wrote:Drink messes up fine motor control....I have found drink makes my playing worse.
Of course you could get vocal classes....
I can't remember who here said it, but "The more you drink, the better I sound."
I use that line every gig now.
That was me, but I didn't originate it. I heard it at a gig twenty years ago or so and picked it up.
- Zurf
Well, the great lines aught to be shared, no? And that's a good one. We also do a tune about lawyers, where I joke about being a "member of the bar, and no, I don't mean you..."
Man, if I learned anything today, it's how much I don't know, and that a good studio engineer is absolutely priceless. We spent 10 hours in the studio today. We have 2 fully completed tracks, and tomorrow we'll lay down the vocals to the other two. Then they go to mastering.
It takes 8 mics to mic our drum kit. I was plugged directly into the board. I've played these songs a hundred times, but always on stage or in our rehearsal space. After our engineer got done with the rough editing, I sat there in the control room listening and telling myself "Man, that sounds really good!"
We also got to plug our LP into the studio Marshal stack, which sounded phenomenal.
I'm exhausted. Tomorrow morning at 10AM we're back at it.
I love this stuff.
jerome.oneil wrote:So, please don't throw any rocks, but when I read that in my head, the voice soon turned into Eminem rapping it. It really does work in an urban context! It's got that whole class warfare thing happening in it. Rich vs poor, everyone dies.
Jerome, I for one would be fascinated to hear your interpretaion of this. I know you have the equipment to do so, if you have the time, is it possible for you record this the way you envision it? As it appears that your version would be in stark contrast to what has been done it would make very interesting listening.
Roger
Well, that would require me to rap, and of the few guarantees I can make in life, that you don't want to hear that is one of them
If you listen to a lot of hiphop, you can probably put it together in your head. Run through they lyrics rapidly, with emphasis on the words on the down beat. Don't pause between phrases. And make sure you have the Eminiem channel on in your head. It really does work, for me anyway.
That's a good question, and I don't know if anyone could tell you exactly why music generates emotion in us. I do know that we can describe the musical forms that do. When we talk about "resolution" that is for the most part what we mean. It's that satisfying end to a chord progression or melody line. There are some simple rules described in music theory you can follow that will lead you to resolution, and hopefully a positive emotional experience.
Guitar chord forum - chordie → Posts by jerome.oneil
