In article <slrndb0qma.30r.slvrmn@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>On 2005-06-15, Joey Goldstein <nospam@[EMAIL PROTECTED]
> wrote:
>>
>>
>> inotmark wrote:
>>>
>>> scriabin's mystic chord is made up of the higher odd numbered partials
>>> of C:
>>>
>>> 5th partial = E
>>> 7th partial = Bb
>>> 9th partial = D
>>> 11th partial = F#
>>> 13th partial = A
>>>
>>> scriabin arranged them in a series of fourths with the fundamental C
as
>>> the root.
>>
>> If I understand you then we'd get (bottom to top)
>> F# Bb/A# E A D
>> which in jazz circles would be F#7#5(#9).
>>
>> With a C bass (I'm assuming the C fundamental is sounded in the bass as
>> well), and the chord in a register that is not very low, it could be
>> labeled as C13(#11) but F#7#5(#9)/C might get the intended sound across
>> to the players a bit better. Of course jazz players might not play that
>> exact quartal voicing upon reading these chord symbols.
>>
>> Is this still considered to be the "Mystic Chord" in all of its
>> inversions and permutations?
>> Or does it need to be voiced C F# Bb E A D to be labeled the "Mystic
Chord"?
>>
>> Based on what Tom K. has said in this thread the "Mystic Chord" appears
>> to be what we jazzers would refer to a C13(#11) or C7(9,#11,13) voiced
>> any number of ways.
>>
>
>ROTFL!
>
>
>Albert Silverman
>(Al is in Wonderland!)
>where relevance is *irrelevant*
>and irrelevance is hilarious!
>
Just show your music, Al.
--
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/
