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Zephyr Nova's drunken AMA


Zephyr_Nova

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@Zephyr_NovaThe presence of the ninth (B) in the chord is really where the questions started coming in I guess. An augmented triad on its own is very ambiguous (and augmented chords are favoured for this ambiguous quality) but once you add other notes it pins things down a little more. As @brian trageskin mentioned above it sounds most immediately related to the whole tone scale, but in my meandering earlier post I mentioned a couple other scales that could also use those notes. Again, you wouldn't want to actually call the chord anything other than Aaug(add9) unless it was important to indicate other notes that would be used in a melody against the chord or would be considered options for alternate voicings of that chord for other rhythm section players.

How's everybody doin? 

 

Edited by toaoaoad
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4 minutes ago, brian trageskin said:

i didn't understand this post (language barrier), care to rephrase? do you mean it's above your comprehension?

More or less, yeah. I could comprehend it if I really wanted to dig in, but these days I don't feel like I have the actual brain power to do so, nor do I feel the need or desire to grasp this information at this stage of my musical development anyway. The material this guy presents gets quite complicated and is far beyond what anyone "needs" to know about theory... it's for jazzers who are bored and want to expand, basically. Once again I was just being mildly trollish by posting the image ?

Edited by toaoaoad
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Aye, prawns are dope.  I have not had breaded prawns in quite some time, and would like to change that.  There's a fish 'n' chips place nearby that I have not tried yet (not big into it tbqhtyvm), and possibly I will go there tonight for said prawns.  Thanks for the idea.

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19 hours ago, toaoaoad said:

I honestly thought you were just trollin with that meme anyway lol. Isn't this whole conversation of ours kind of a troll on the whole thread? It really is just an A augmented triad with a ninth on it. My big posts about nomenclature and chord/scale relationships were all just unnecessary theory stuff based on imaginary situations where you need to know more about the context of the chord (i.e. no one asked) lol

i said i genuinely tried to find alternate interpretations and by that i meant the chords i came up with were an endless pile of honest mistakes from my part, but i forgot to mention that was just me having a bit of fun and trolling yeah. the joke was to do this pointless exercice of labeling an ambiguous chord without any context, and come up with bonkers 'solutions' 

1j1pyb.jpg

now here's what i wanted to talk about:

so i've had some rest, i'm thinking more clearly now, and while i was taking a long walk earlier i started thinking about the chord again, and it suddenly clicked: it's a B7(#11)(omit3&5lol)  

so here's the zeph chord 

tThiqXT.png

now check this out 

r2kjQ6T.pngGXF4Zke.pngLUOfJwV.png

boom. now does the B need to be between A and C# to be considered 1st inversion, or 1st inversion is all about 1 becoming the top note, no matter how extended the chord is? how does that work? 

btw here's another goofy label of the chord i came up: Db7(omit5)/A

lol. and this time i know i'm right 

but of course these are only 2 (goofy instances) of the many ways the chord can be analyzed. also, the chord is a good example of how ambiguous the chords derived from the whole tone scale can be, where any note could be the tonal center

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2 minutes ago, dingformung said:

JulienRio.com-dunning-kruger-effect-graph.png.ce7815ee7c2d04613a70e557933ddf59.png

i know exactly what you mean but this wasn't a case of me being too confident in my knowledge when i'm actually quite ignorant, it was me playing games in my head and coming up with wrong conclusions because the pictures in my head were completely wrong for some reason. so not a matter of missing knowledge and overconfidence. all it took was a good nigh's sleep for me to be up to the task 

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10 minutes ago, dingformung said:

JulienRio.com-dunning-kruger-effect-graph.png.ce7815ee7c2d04613a70e557933ddf59.png

''Even though I walk through the darkest valley, I will fear no evil, for you are with me; your rod and your staff, they comfort me.''

 

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59 minutes ago, xox said:

if i knew music theory the way you guyz do id walk on water 

i really don't know too much though, trust me. toad probably knows 10 times what i know, if that sentence makes sense in english

ok maybe not 10 times but 5 times maybe? idk lol

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Just now, brian trageskin said:

i really don't know too much though, trust me. toad probably knows 10 times what i know, if that sentence makes sense in english

ok maybe not 10 times but 5 times maybe? idk lol

yeah 5 times is still a lot, 4 times also lol 

all i know there are white keys and there are  black keys and that sometimes they can mix i various ratios and combinations ? ... you can even press more than one key at the same time #mindblows 

what i wanted to say that id struggle much less if i knew the theory and im planning to learn some of it later this year; i even bought some books  

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4 minutes ago, xox said:

yeah 5 times is still a lot, 4 times also lol 

all i know there are white keys and there are  black keys and that sometimes they can mix i various ratios and combinations ? ... you can even press more than one key at the same time #mindblows 

what i wanted to say that id struggle much less if i knew the theory and im planning to learn some of it later this year; i even bought some books  

if you're too lazy to read books or if the medium is too boring, know that there's tons of music theory on youtube. that's how i learned anyway

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Lol

@brian trageskin  B7#11 over A is just one of many possibilities yeah, because B7#11 (B lydian dominant) is just one of seven modes of the F# jazz minor scale, any of which would contain these notes. So I mean if we're getting into slash chords (i.e. calling Zephyr's chord "something over A") then we have all of the possibilities from that mode, not just B7#11. But the only actual reason we would need to call it that is if it was functioning as a B7#11. Since we still don't know anything about the function of this chord, it's nothing but an A+(add9). It's really unlikely that anyone would want to voice a B7#11 this way.

I think it's also a pretty safe rule of thumb that if your chord spelling includes "omit 3 and 5" then call it something else. lol 

Edited by toaoaoad
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1 minute ago, toaoaoad said:

Lol

@brian trageskin  B7#11 over A is just one of many possibilities yeah, because B7#11 (B lydian dominant) is just one of seven modes of the F# jazz minor scale, any of which would contain these notes. So I mean if we're getting into slash chords (i.e. calling Zephyr's chord "something over A") then we have all of the possibilities from that mode, not just B7#11. But the only actual reason we would need to call it that is if it was functioning as a B7#11. Since we still don't know anything about the function of this chord, it's nothing but an A+(add9). It's really unlikely that anyone would want to voice a B7#11 this way.

yeah i was just having a bit of fun really, don't look too much into it lol

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25 minutes ago, xox said:

what i wanted to say that id struggle much less if i knew the theory and im planning to learn some of it later this year; i even bought some books  

This is always a great idea. I'd suggest also seeing an actual human tutor from time to time if you're serious. Self-teaching can only go so far and leaves you vulnerable to blind spots.

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