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Seriously: If you value it, take/fetch it yourself
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
0-2-2-1-0-0
Ray - a dominant chord, ie B, but you want to play the bottom F#
2-2-4-4-4-2
Me - an E chord again but you want the C# to be the bottom chord, so you play 1st inversion (or E over C#)
4-7-6-4-5-4
Far -
5-6-7-4-4-X
Sew -
7-7-9-9-9-7
La -
9-12-11-9-10-9
Tea - ?????
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
La has 2 chords - F# 2nd and B 1st;
Ti has G# 2nd, then c# minor 1st - that's an unusual chord
Then a quick turnaround back to doe.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
I mean, inversions I get like this:
root: C maj,
1st: Em6
2nd: (a Gsus ... as in Gsus wtf is that?!)
But I also think in terms of Brett Wilmott's harmonic extensions, as explained to me over a beer by Phil Robson many moons ago...
C maj - is also F dominant leaving space for the bass player... etc.
My YouTube Channel
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I'm right in thinking it supports the chords I'd listed earlier ie.. E major --> F#/B etc..??
is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?
What I mean is:
By x over y chords do we mean "slash chords" i.e C7/G?
Where's the context? ..if it helps understand inversions - what's the sticking point of inversions that it's attempting to overcome?
Saying re is a dominant chord is at odds with the solfage music system which is about intervals from a root note, so not enough information to determine minor/major or dominant.
Saying the second chord in diatonic chord progression is at odds with Nashville notation... so why is that?
How come me reverts to an E chord... there's not even a one to one correspondence of solfage to chords and no indication of the pool of chords that are being chosen from or the reason for their inclusion.
After reading the whole thread several times, I have pieced together this: people are talking about playing Do-Re-Mi from the Sound of Music in such a way that some sort of bassline does something with the inversions and this is edifying in some way.
After a few more rereads and googling the fakebook for do-re-mi I can transpose the song from C and G7 .. (so that's where the E and B7 is coming from).
So yeah, like Arthur C. Clarke's law "any sufficiently advanced technology is indistinguishable from magic", frankus' law is "any music theory insufficiently explained is indistinguishable from numberwang".. ja MatthiasSchehderrei, das is richtig!! das ist numberwang... glauben!
It's been a bit of a clusterf**k of domain specific terms with no original context to pin on any one of them... it's taken too much effort to get to sort the information out to this extent:
The song do-re-mi can help with inversions (some how).
Usually written in C, we're going to transpose it E (for some reason)
We're going to use slash chords to describe an ascending bassline played as we alternate from E to B7
Somehow the slash chords relate back to inversions.
...at that point I am thinking "It took less time to really learn the Ruy Lopez opening in chess".
... that's what I mean.
for you maybe, I've tried earnestly to figure out wtf is being described.
Apart from a few sages who seem to have read about this elsewhere and not shared links to the better descriptions they must have read, because anyone grokking it from this thread is not clever they're a f***ing psychic.
I kinda get fed up with something, that increasingly feels like a largess, I like being included, I like understanding music stuff, I've had some great teachers and I know I'm capable enough - but I've never been okay with people getting huffy because what they're saying is not making sense... what it boils down to is indifference or impatience or something like, and a resentment at the person who (originally) patiently offered the opportunity to revisit what was being said and describe it more clearly.