In article <d68vhj$e17$1@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>
>The Tortoise:
>
> Pardon my tardiness, but I am having great difficulty
> constructing a dominant seventh chord outside of a musical
> context. Can anyone tell me how to do this?
>
>The Hatter:
>
> You are asking the wrong question, Gentleman-with-the-Shell. The
> question that you *should* be asking is: "Why would anyone want to
> learn how to construct a chord in isolation from a musical
> context?"
>
>The Tortoise:
>
> Thank you so much, Gentleman-with-the-Hat. Now that I am secure
> in the knowledge that I have no need for learning how to
> construct any chord in isolation from a musical context, I can
> just forget about it, knowing that I am in tune with the rest of
> our Wonderful residents.
>
>The Hatter:
>
> It's nothing, Gentleman-with-the-Shell. Don't mention it.
>
>Alice:
>
> You're right about this, Gentleman-with-the-Hat; don't mention
> it, because it is indeed nothing. It seems that you don't want to
> mention anything that *you* don't understand.
>
> But to answer your question, Gentleman-with-the-Shell, a chord
> having the interval pattern of our Ancient Revered One's
> "dominant seventh" chord has the chord construction formula
> [1,3,5,-7]. That is, it is constructed from the first, third,
> fifth, and *lowered* seventh degrees of the diatonic major scale.
>
> For example, this chord constructed upon tone G contains the four
> tones GBDF. Note that tone F# is the natural seventh degree of
> the G-major scale, while tone F is the lowered seventh degree of
> this scale.
>
>The Frustrated Guitarist:
>
> The **lowered** seventh degree? How did that *tone* sneak its way
> into this chord? My Theory Teacher didn't explain that tone to
> me, when he unwrapped his oh-so-grand theory of acoustic roots.
> This is indeed Frustrating.
>
>The Hatter:
>
> Forget about those roots and start thinking about leaves. It's
> tea time, everyone; English Breakfast!! Who would ever want
> to talk about bloody chords when he could have such a marvelous
> drink for breakfast?
>
>The Frog:
>
> Breakfast? At three in the afternoon?
>
>The Ostrich:
>
> *Acoustic* roots? I guess that leaves me out of it; remember, I
> can't hear anything.
>
>The Frog:
>
> CrocK
>
>
>
>----------------------
>Albert Silverman
>(Al is in Wonderland!)
>(57)
>
Al, if you would only just take some time and actually try to
participate in real live music, you would begin to comprehend the
music-theoretical discussions in rec.music.theory which keep flying
over your head, and you'd lose the need to pretend and bluff about
rudimentary things like the intervals in chords.
--
Matthew H. Fields http://personal.www.umich.edu/~fields
Music: Splendor in Sound
To be great, do things better and better. Don't wait for talent: no such
thing.
Brights have a naturalistic world-view. http://www.the-brights.net/
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