He writes a lot of film scores apparently, in addition to jazz and country music.
Nathaniel Murphy
Hooray I can go on ranting about how jazz harmony confuses me.
> IVmaj7 chord. > call it rootless II9 > Okay.
> C6 for major chord > C13 and C-13 for dominant and minor chords.
in the end, it all feels arbitrary and I'll have to memorize lots of chords instead of being able to just induce them logically.
Apart from notation (and taking enharmonics for granted), this stuff is very interesting and insightful
Angel Taylor
How do I transpose for trumpet and saxophone? thank you
Blake Phillips
What's your experience on the piano? I've been thinking of reading that.
I can mostly play the first movement of the Clementi sonatina no 1
Leo Cox
22yrs of classical piano here, anyways that book is not about difficult technical stuff, but more about chords and efficient ways to play them, therefore technical skill is irrelevant to a certain degree. Of course you need to practice in order to get fluent in all keys, but clementi should be enough to get you started, if you're already intermediate in another instrument and/or in basic music theory
Asher Reyes
>majoring in music >think classical is dogshit
you can't stop me
Charles Adams
Benjamin Britten is good
Tyler Nelson
What's your poison, pal?
Levi Cook
> IVmaj7 chord. > call it rootless II9 ii is way more common than the IV in jazz progressions. It may seem arbitrary but it does simplify things. Likewise with iii and I, vii° and V.
> C6 for major chord > C13 and C-13 for dominant and minor chords. That's not quite right. First, there are major and minor 6th chords, as well as major13 chords.
6th chords are strictly 4 notes (e.g. C E G A), while 13th chords are 7th chords with every upper diatonic extension (e.g. C E G B D F A). 13th chords don't usually use all of those notes, but they definitely have the 7th and 13th to "fit" the definition.
Daniel Scott
Not familiar with either instrument, or transposing instruments in general, but that depends on what kind of trumpet and saxophone you're talking about. Wind instruments are basically the grand matriarchal extended family to string instruments' small nuclear family - there are many, many different transpositions to different pitches and different octaves for the same instrument.
You should keep a good conception of how transposition works in your head while working with them. For non-transposing instruments >written C4 = concert C4 For high F instruments >written C4 = concert F4 For regular F instruments >written C4 = concert F3.
If you have a regular F instrument and write C4 in the score, what you'll hear is F3, a perfect fifth below what is written. Conversely, if you have a regular F instrument and you want to hear C4, what you write in the score is G4, a perfect fifth above what you want to hear. Keep these relationships in mind at all times when working with these instruments (I know I have to, being a lowly string player with a puny mind).
The most common trumpet is a regular Bb instrument: >written C4 = concert Bb3 (whole step below what is written) Trumpets have all kinds of different transpositions though.
The two most common saxophones are the alto saxophone, a regular Eb instrument: >written C4 = concert Eb3 (major sixth below what is written) and the tenor saxophone, a low Bb instrument: >written C4 = concert Bb2 (whole step + octave below what is written)
We are talking about the Levine Jazz Piano book mentioned last thread, right?
Luke Scott
Yes, indeed. Start slow, try out everything at a pace that you can follow. That's more important than playing stuff fast but sloppy imo
Evan Brown
>tfw scrub trying to transcribe my first easy videogame tune, for practice and to later analyse it >Don't have my piano, or any instrument available to check sounds easily Doing it only with sounds in the computer hurts. When I started, I was using my piano and it was fairly easy to compare the sounds. Using the laptop feels so limiting.
And I'm probably fucking something up in Sibelius. Not sure if the strings are supposed to be that far apart from the other 2 instruments. Also, on an exercise I was doing I was meant to get the diminished vii 7 in f# minor. The solved exercise just raised E and left G, B, and D as they are in the scale. Meanwhile, what I did was add alterations as >G natural >B flat >D flat
Was that a mistake from me, or do both work? I did that under the idea that E was the vii and I should part from there, without altering it. Does it make more sense to raise it just so the rest of the pitches keep their correct alterations for the scale? Maybe both work and it's up to context?
Parker Ross
Imo even in minor, the vii is (functionally) the leading tone, so I'd say vii°7 of f# is
Brody Anderson
I would consider that a mistake. The diminished vii strongly suggests you're in a minor key with a raised seventh (probably harmonic minor), so in this case, E#. Then build your chord from there. The flats in your E dim chord should have been a red flag, because you usually don't mix sharps and flats like that.
Jason Wright
All right, that makes sense. Thanks.
Luke Hill
fuck, I'm having the hardest time figuring out the meter. I know it changes to something a lot simpler at 0:26
Brandon Rogers
Sleep bump.
I'll mourn your death later
Easton Nguyen
I'll do my best to keep the dream alive
Dylan Foster
Copland is trash btw
Thomas Richardson
Does it though?
Samuel Lee
This probably isn't the right thread for this, but could somebody help me convert an audio loop into MIDI or at least just tell me the notes? I figured you guys would be the best at that.
If this isn't the right thread, feel free to tell me to fuck off. However, if someone could help me, here's the clip:
