a quick question...
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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
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guitarjazz
- Posts: 83
- Joined: Wed Dec 20, 2006 10:15 pm
Classical theory/pedagogy uses the terms "leading note" and "leaning note" to denote tones that resolve up and those that resolve down.
In these terms, The major scale, or Ionian Mode, has it's M7 as a leading tone (resolves up to the tonic), and it's P4 as a leaning tone (resolves down to the M3 - a member of the tonic triad), both of which contribute to the HTG toward the tonic major triad.
The "natural minor" scale, or Aeolean Mode, has it's P4 as a leaning tone (this time resolving down to the m3 - a little weaker than to the M3), and a m6 as a leaning tone (resolves down to the P5), both creating HTG to the tonic minor triad.
To strengthen that HTG in minor keys, which classical music was all about, the Harmonic Minor scale was used - adding the M7 leading note to complement the force of the P4 and m6 to the tonic minor triad.
The Harmonic Major scale contains all three of these horizontally-charged intervals, but this time resolving to a tonic MAJOR triad - a more stable, final-sounding structure than the minor triad.
Like you said, motherlode, it's a very decisive scale for the horizontal side of things, since the intervals make it very clear whether your melody note is "here" or "there", and the polarity between separate, distinct "places" is at about it's maximum.
In these terms, The major scale, or Ionian Mode, has it's M7 as a leading tone (resolves up to the tonic), and it's P4 as a leaning tone (resolves down to the M3 - a member of the tonic triad), both of which contribute to the HTG toward the tonic major triad.
The "natural minor" scale, or Aeolean Mode, has it's P4 as a leaning tone (this time resolving down to the m3 - a little weaker than to the M3), and a m6 as a leaning tone (resolves down to the P5), both creating HTG to the tonic minor triad.
To strengthen that HTG in minor keys, which classical music was all about, the Harmonic Minor scale was used - adding the M7 leading note to complement the force of the P4 and m6 to the tonic minor triad.
The Harmonic Major scale contains all three of these horizontally-charged intervals, but this time resolving to a tonic MAJOR triad - a more stable, final-sounding structure than the minor triad.
Like you said, motherlode, it's a very decisive scale for the horizontal side of things, since the intervals make it very clear whether your melody note is "here" or "there", and the polarity between separate, distinct "places" is at about it's maximum.
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chespernevins
- Posts: 368
- Joined: Sat Sep 16, 2006 7:34 am
No ML, no different answers at all.motherlode wrote: Now...are we just using different terminology to answer this question? Or are we actually giving two different answers?
I agree that G Harmonic MAJOR = C Lydian Dim. [G Harmonic Major = C LD Vh ]
I was making the additional point that E Harmonic MINOR = C Lydian #2. [E Harmonic Minor = C L#2 IIIh ]