In article <slrndafn3r.ss9.slvrmn@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>On 2005-06-08, Jon Slaughter <Jon_Slaughter@[EMAIL PROTECTED]
> wrote:
>> I was playing around the other day with and notices that a progression
like
>>
>> Bmaj Dmaj Fmaj Abmaj etc.. sounded pretty nice. Now I'm wondering if
that
>> is used much as I felt I had heard it before(or something similar). It
>> seems to me that the tension created kinda makes the progression not
really
>> a major sounding thing like I expected. (that is, the Fmaj chord didn't
have
>> that "happy feeling") but even the movement of just Bmaj to Dmaj
sounded
>> nice. How would one "analyze" this?
>
>Do you mean, as a psychiatrist would?
>
>
>
>Albert Silverman
>(Al is in Wonderland!)
>where psychotic analysis is relevant
>
>>
>>
>> Thanks
>> Jon
>>
>
>The Hatter:
>
> It's nothing. Don't mention it.
>
>Alice:
>
> Indeed it is--or isn't. But *I* am not the one who mentioned it.
>
>The Frog:
>
> crOck
>
>
--
Matthew H. Fields http://www.umich.edu/~fields
Music: Splendor in Sound
To be great, do better and better. Don't wait for talent: no such thing.
Brights have a naturalistic world-view. http://www.the-brights.net/
