Matthew Fields wrote:
> 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/
"Dissonances based on major 2nd and its inversions are milder than the
harsh effect of the semitone and its inversions" but then again I know
nothing. Interval harmony may have more to do with relaxation and
uniformity.
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