>>SOME MINOR THEORY
>>Minor keys are based on scales having a flatted third.
> This is vague. Actually, it is incorrect because a minor
> scale is not different from a major scale simply on a flatted
> third, but other intervalic changes as well.
With all due respect George, there is a common 'reative pitch' vernacular
that uses 'flatted third' and 'minor third' synonomously, as well as
others like 'dominant seventh and 'flatted seventh'. In fact, on page
501 of the 2nd edition of HDOM (which you recommended below) under the
article entitled "Major, minor" they use the terms interchangeably. It
discusses the Melodic and Harmonic Minor in this article, but the Dorian
and Aeolian (Relative Minor) scales are reserved to the 'modal'
discussions. I think Danny was trying to describe all the minor tonality
scales/modes in one umbrella, which I have seen done before.
I don't profess to be an expert, and may have made a few emphasis errors in
my own post on a similar subject a few days back, but let's cut each other
some slack here. E-mail's tough enough to get your point across accurately
BTW, I really liked all the 'worst gig' anecdotes and other show reviews
!!! :-) :-).
Acid jazzers ought to try Maceo Parker, even Candy Dulfer (sax players) for
ideas. Probably play with the button in most of the time ;-) There's no
short road to success.
>It is my view that music theory is exact and proven. The basis of my
>pedagogical thought processes can be found in the following texts:
> GROUT/PALISKA: The History of Western Music
> HARDER: Fundamentals of Music, vols 1 and 2.
> GROVES: Dictionary of Music and Musicians
> The Harvard Dictionary of Music
>These texts are available at most public libraries.
>George Miklas, Bass Harmonicat
Harv haandruss@xxxxxxx - opinions my own
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