-
Ahhhhhh to be young again. This would be news to David Baker, I think.
Originally Posted by Bobby Timmons
The dose makes the poison.
The rhythm makes the tension.
Sure the root might not sound dissonant (though there are ways), but it will sound more or less stable and more or less alive depending on how you play it and where you place it. As will a more outside note.
-
Yesterday 05:38 PM
-
Ur mad at notes bro. Color comes from the notes. Rhythm is a main element of what makes melodies function, but it doesn't factor into how the melody notes sound harmonically. They're 2 separate things.
So what is the mad at list up to now?
Mad at theory, mad at tonewood, mad at JC, mad at the bot, mad at notes. ragman was mad at me for my use of BH the other day. The complex harmony scared him. :P
-
Bobby, just for whatever it's worth, this is basic jazz pedagogy. And basic counterpoint. Stuff that's been out there for several centuries. Originally Posted by Bobby Timmons
The rhythm doesn't change the literal pitch of the note, but rhythmic placement, duration, timbre, articulation, are unbelievably impactful on the way we perceive those sounds against an accompaniment. This goes back to writing on counterpoint in from the 1700s (probably earlier, but Christian can school me on that) and is relevant and explicit in teaching as current as the bebop scale.
For example, you've been super into Barry lately and it's interesting that his added note scales are decidedly not passing note scales––that any note can be placed between the b7 and root (or 5 and 6 or 2 and 3 or whatever, depending). The purpose is the rhythmic displacement of the line and the note itself doesn't matter.
And you've been really into the Open Studio stuff lately. I've heard Adam talk a few times in their recent videos about how he's been transcribing a bunch of Duke Ellington and been surprised by how often he's just using root structure triads in his arrangements and how they're so impactful anyway. I believe he said "the ear fills in more blanks than you think" (or something along those lines). How? Why?
I transcribed Clifford's solo on September Song recently and there are a couple spots in there that are just unbelievably impactful and tense and rich, and I was surprised when I transcribed them to find that all he's doing is hammering the root or a little blue note or something––but the growl in his sound, the little half-valve stuff he does, the line before and and where it lands make it sound like something different.
It's a thing.
-
I agree. Rhythm and various forms of inflection change or enhance the impact of whatever (rudimentary) notes are played, and sort of lend a 'color' of their own. But you originally said it's only rhythm and articulation that create the color, which is false. If you take away a selection of notes related to the harmony like with drums, you have no note/harmonic color, just rhythm and its inflections.
Originally Posted by pamosmusic
-
Come on man, that's not what I said. Originally Posted by Bobby Timmons
You literally have me quoted there, so I'm going to assume you've actually read the discussion that came before it and know that I didn't say "it's only rhythm and articulation that create color."
Even just in the post you quoted directly, I said "it's rhythm and articulation that make it colorful or not." If I told you that "you need flour for bread, but it's yeast that makes it rise or not." Would you make thing and call me "mad at flour" and claim I said that you can make bread out of only yeast?
Maybe if you thought I said "you can't create color without rhythm and articulation" then I would go with it.
-
Okie dokie, I'm not trying to strawman anyone.
-
u r mad at reading for context Originally Posted by Bobby Timmons
-
I try.
-
Well that’s good. Because sometimes you go straight to “wtf yall are mad at ___” when the context would probably be helpful first. Originally Posted by Bobby Timmons
-
Lol
-
This thread took a turn!
Reply With Quote
Blowin in the Wind
Yesterday, 10:27 AM in The Songs