List of Tendencies

[Ken Valentino 2]

@ Anatole

I've put up an updated chart, see if maybe it answers some of your questions.

http://freejazzinstitute.com/showpos..._Ken_Valentino

[Ken Valentino 2]

@ Motherlode

Thanks so much for the idea!

[anatole]

I've put up an updated chart, see if maybe it answers some of your questions.

http://freejazzinstitute.com/showpos..._Ken_Valentino

OK great!

what are almost tonics ?
why did you write watch out for coexisting tonics next to dark pos b3 (5 b6) ?
are expended and suspended the sounds of necessarily two connections (5 5) and (4 4) or you can sound them directly with (2) and (b7) ? arent those two too ambiguous ? do you mean though they sound weak they really are the sound of (5 5) and (4 4) ?

[Ken Valentino 2]

what are almost tonics ?

I got the idea from almost prime which is a math term. It ended up working better than only using ratios.

Applied to music it means if a ratio isn't made up of small primes, then it's easier for the ear to just connect through multiple primes. So basically "45" in a ratio is better expressed as "3 x 3 x 5".

Now applied to Tonics it means that even though a connection is subjectively proved to not have a Tonic, there is still mood and perceived intonation that occurs because of that connection. That's really why different routes matter.

So you need to know what prime and what direction (Pos/Neg) each connection is. Almost Tonics give you that direction.

why did you write watch out for coexisting tonics next to dark pos b3 (5 b6) ?

It's the most common Coexisting Tonic. Unlike Almost Tonics, Coexisting Tonics are proven to be subjectively true.

An example of how this matters is a pos dark b3 would resolve to a ex 2, whereas a pos dark b3 that's also a Tonic wouldn't resolve to a bright 7/ex 2 (all things being equal of course).

are expended and suspended the sounds of necessarily two connections (5 5) and (4 4) or you can sound them directly with (2) and (b7) ? arent those two too ambiguous ? do you mean though they sound weak they really are the sound of (5 5) and (4 4) ?

Yes if you know the sound of Ex 2 already you may not need to go through all the connections. But if say you don't know if you have a Blue b7 or a sus b7, then you need to go through routes that help to prove it.

Skipping connections gives you more variety in your routes so it's a good thing to strive for. There's also the fact that what someone else is playing or a form in your imagination is already making those connections.

There's even the timbre of the instrument. What if the 3rd harmonic (5) is really loud? Then if you play a 2 then you're more apt to hear Ex 2.

So b7, 2 are ambiguous because of versatility. Blue 2, Blue b7, Ex 2, Sus b7, Bright sus 2, etc.. Use the different routes to create a more obvious memory of them.

[anatole]

say you don't know if you have a Blue b7 or a sus b7, then you need to go through routes that help to prove it.

Use the different routes to create a more obvious memory of them.

is there really a road to b7 !? ain't it only directly that it connects to its tonic nevertheless the other connections and that what is tricky about it ? on the piano If I play an 1 3 5 b7 arpeggio it always sounds kinda dark as if being a pos dark b3 of the 5,
if I try to sing 1 3 5 b7 it seems to default to a blue b7 which is the most in tune and positive ?

well on the piano when I play 1 5 9 b7 and 1 5 10 b7, those two b7 on top do sound different, the latter sounds perhaps (better) more complex and positive.

1 5 10 b7 do resolve to the 1 above, 1 5 9 b7 also,
now with 1 5 b10 b7 seems to resolve to the 1 above but kinda less but also to the b3 above !?

[Ken Valentino 2]

is there really a road to b7 !? ain't it only directly that it connects to its tonic nevertheless the other connections and that what is tricky about it ? on the piano If I play an 1 3 5 b7 arpeggio it always sounds kinda dark as if being a pos dark b3 of the 5,
if I try to sing 1 3 5 b7 it seems to default to a blue b7 which is the most in tune and positive ?

Yes the blue b7 is a prime connection, It doesn't need other numbers unless they help bring in a memory. They could make it harder.

The piano version sounds like a Pos Dark Transfer b7 - (5 b6 5).

And yes the singing version is probably the Blue b7.

well on the piano when I play 1 5 9 b7 and 1 5 10 b7, those two b7 on top do sound different, the latter sounds perhaps (better) more complex and positive.

1 5 10 b7 do resolve to the 1 above, 1 5 9 b7 also,
now with 1 5 b10 b7 seems to resolve to the 1 above but kinda less but also to the b3 above !?

1 5 9 b7 is probably the Pos Dark Transfer b7 and the 1 5 10 b7 is probably the Blue b7, and it's good that you're checking the Tonic.

As far as resolving to a b3 in this context it could very easily be a coexisting tonic.

[anatole]

Hello Ken,

what did you mean by key centering ?
how does key centering happen when playing monophonically / a capella ?

thank you!

[pdfonline9]

oo cool

[lavanya]

Thank you for information

[Priya]

List of Tendencies Article have a Good Stuff. I Have a little Knowledge. Thank you for information.

[Pranavi]

List of Tendencies Information is amazing

[anatole]

yes the singing version is probably the Blue b7.

Ken,

so what happens really when one try to hold singing a descending maj 2nd from the I over a tonic I chord ?
it may harmonize with the I chord sounding a blue b7 (8:7 tonic high) ? could you really sing a negative b7 (8:9) over a I chord without it to lock on the most consonant blue b7 ? (or the negative b7 intonation would happen anticipating the chords changing to IV ?)

if you have time to think about my question in post#97 it would be great,
I've read somewhere that barbershop singers do tune from the lead voice, is that key centering too ?

thank you Ken, until next time!