Heilige Maria...

Triad is a underground society in Hong Kong.

A clashing chord of triads is when two gangs all of a sudden beat each other up, loud, harsh, dissonant, unpleasant, and in surprising opposition of what just happen a second before, of course undermined with with cymbal clashing, mostly executed by the gang ladies to support the beloved gangster.

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ye and

It aint over untill the fat lady sings.


( thats musical, so its aloud on this forum )


Clark is going to have a ball on the next go round. I got a feeling. And I know when to be quiet. And absorb some knowledge.

ZIP

A Triad is a diatonic tertian trichord.

Diatonic means, using the reservoir of notes of a seven-note musical scale.
Trichord is a collection of three pitches.
Tertian means a chord constructed from thirds.

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I love you guys...

Never a dull moment!

I was using an overly simplistic definition, to be sure. I like the Hong Kong reference though.

I need to work on being more clever.

Clark

Thanks! Much appreciated.

I'd better find a musical dictionary.
You know that it took me months to find out how mallets we're called in Dutch?
Their called 'kloppers' (beaters) [:)]

Theory and harmony colide at a fine line which melt together at a certain point.
Apparently to this day it is not clearly known the clear reference of diatonic, so my dictionary sais.

I have read in promanently well reputable profesors books that harmony is symetricks. It does get merky, So one can define harmony and perfect harmony maybee ? Thats how I'm looking at it. I'm sure there is someone who can spend all his time without composing and define up to date. The old authors had to document from instruments that had no pedals, or clearity, they also had way too much hash fill in pages that just for the sake of writing as much information fill as a read. But I trully have not had the time to cypher through all read, I just know from my studies which do coincide if rechecked or reproofed with the other (ancient) books. It is interesting though. Poppa has helped reproofing. Wish I could take a few lessons from him. Clark can clober nock with the best of them. Some people just dont want to face any of it. Its too much on their schedule already. Those who face it will accelerando.

PS.

Tertian in the dictionary means: Malaria reacuring on every third day.

I would suggest to use the Klopper knokers if one needs to get rid of the dreaded Tertian if need be. ( I know everything )
Thanks Angelo !

@R.K. said:

Apparently to this day it is not clearly known the clear reference of diatonic, so my dictionary sais.

Robert,

You may need another dictionary.

Diatonic, from the Greek diatonikos, "to stretch out";
Tertian, from Latin tertius, third;

... but don't educate yourself too much, because:
"Blessed are the ones who know nothing, for theirs is the kingdom of heaven"; Matthew.

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Thanks for returning, I was hoping somone with experience would.

Diatonic - the broad statement

you are right from stating diatonic uses the 7th, which in return we were talking about a triad which bypasses the 7th. Therefore maintaining complete and perfect structure. theoretically absolutely. Also diatonic states all notes within the major & Minor scale therefore, if triad used diatonicaly one will automatically bypass the 7th.
And thats the key issue is using diatonics in theory. its a broad statement,Harmony & Theory, were does one take up and one leaves? all notes within a scale. Triads rotate within the diatonic elements. another words Angelo I should have simply said, using triads with left hand to maintain structure and using right hand diatonicaly to fill or to tretch out as you put it. Thats the correct way of using the structure. I just jotted diatonic in parenthesis. You are right and a perfectionist. By the way diatonic in my dictionary states its church music. I guess that includes bach, and mozart, & chopin as a best example to use. But today church music means a whole different category of music. That is interesting. I am deffenitely refering about classical music, and how it is structured as of perfect diatonicaly structured harmony. Its reffered as classical music when its really just pure music as a default for use. Labels change in time which diffuse the picture. also prejudice diffuse the picture, If its mathematics then how can these things diffuse the issue? thats the question ? Real life has an effect on theory. For example history as we know it, starts the calendar from Jesus's age, in multiple of 12'ths ( month's,hours,keys on piano.) hearing by the word of god ! So God is involved in mathematics in our every day lives. And the mind is capable of complex mathematical structures if treated as not knowing. Thats the first thing one learns in Jazz, because its an improvisational art of comunication. but one would say, jazz uses the 7th's so the structure is broken into abstarct, so it is improvised on a structured chart and not used as the default structure. By this time one looses the theoretical picture and causes havoc if not careful. My statement in my book ,I qoute ;

@Another User said:

If the piano and the 12 Key system is the primary source of music & instrument to compose on. And theory is the proven mathematical formula in which to use. And the indigenous and original theory has been uncovered during the beginning of the music era. During the great composers era. It does not make it for Classical music exclusively. It makes it the primary theory to use for composing using the 12 key system. If you deny yourself the learning of it, you have denied yourself from composing, period. That is not to say that you cant use modern jazz elements of theory and write the same material. It is just approaching it from another direction , which is achieved possibly by ear. much the same as song writing is. Song writing is the art

Bach and the church is the begining of tuned pianos

Mozart took the first sacred work written on paper out of the church

Chopin's heart was buried under a church

Also the great vivaldi.


I can go all day on these theoretical elements. And the Clashing chords. I wrote a book on them. Because nobody else would, or actually have the time.

Sincerely
to my friend , Angelo ( the angel )

Robert...

It’s better to divide harmonic analysis into areas. Then you can attribute rules, because you can date them to a time or a composer. A harmonic rule drawn from a piece in 1750 may has been surpassed in 1828.

1600 - Lasso, Palestrina, Cavalieri
1700 - Bach, Handel, Vivaldi, Telemann
1765 - Haydn, Mozart, Beethoven
1800 - Schubert, Beethoven
1830 - Schumann
1600-1900 - Opera
1860-1882 - Wagner
1840-1885 - Liszt
1900-1918 - Debussy
1915-present – Skrjabin, Schoenberg, Webern, Hindemith, Messien etc.

That way you can attribute a modulation to a specific period when you look at a piece in a analytical way. The harmony books with no historic concept derive their rules from not mentioned music, and are made for teaching purpose only and will confuse completly. This books give you on 10 questions ten different answers. At academies a so called "Strenger Satz" is teached who was never composed, but the teacher can easely test.

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There's nothing like the real deal, Experience. It took me ten years to document and proof and reproof my studies. All because there is no accurate or focused up to date information. Can you imagine how I feel, it took the best out of me. Makes me Very angry. Composing time is valuable. Time is money.
There is the society of theory, I joined it for a while, There is actually something valuable there, but like everything else, money ego and power is a waste of time.
Everyone is running after a job. And have their own opinion. (race,psycho's,bullies,degenerates. ect... ) The computer and internet is the biggest breakthrough for music. The notation programs has made up the years for makup. A little conforting there. I was surprized when you mentioned you still right by hand. My back has cormudged to a point of no return, I can't make up my lost years without the notation programs. although that took litteraly a 4 year undergraduate degree per say to achieve. Before the digital field and computers came in , I quit completely and farmed for a while, untill the computer was born. Atleast one can relate from that point of view.

Yes, there is also the life of invoices.

Music get's pretty wild from 1900 on, and increases to a wideness till today hardly to be analysed by the scientific community. To say it cynical, let your cat walk the piano and record it. Many of the composers today have a urge to explain the structures behind their compositions, i never came behind why. There is a very small public who enjoys the contemporary avantgarde, i'm not one of those attending. I listen to radio who plays the latest music, but only when i make my office; every now and then i discover a composition i like.

As far as it concerns me, i forced myself years ago to forget all theory, and compose what comes as a idea. I would never explain a recipient a non-existing theory behind my music, most likely because you destroy his fantasy and his simple enjoyment, and if he is very bright, he would starts to believe it's all a construct.

By the way, i write by hand only notices and ideas, and the score for the mixer. The music itself goes more likely from the box to the medium CD or DVD never leaving the digital domain, and no notation exists. Exeptions are when it has to be played by musicians, which becomes more seldom lately.

My idea of the web is, i take a little and i give a little.

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@Another User said:

As far as it concerns me, i forced myself years ago to forget all theory, and compose what comes as a idea

How nice to be far along. And give the spontanious human element credence.

I'm at a stage were presently. I have just analysed the theory behind from 1600 to present. turns out present is very minute. ( only desert ) So I decided to take the most tastefull elements from the era that I most think is the most tastefull.
I'm afraid I have to refer to notes constantly to maintain my position, I forget very easily. But I also very easily find the music takes over and writes itself in which surprises occure. I ponder on the question of should i be more strict and maintain thought and not give way to surprises ? Therefore get to the point and not derive to other elements.? That will be judged down the road perhaps. To my surprise this week I ended up in a line similar to rossini. Where did that come from? I'll try to get a short clip maybe to demo.

I always notate everything, and play the notation for disc, keeping in digital domain al the way to the end. I'm not clear or fast enough to play what I request from myself anymore. The years of playing for other people and my studies took the wind out of me. The stacatoes are the most serious to content with. I've just a bout mastered the solo strings. After 200 pages of present composition, i 'm going to use the third movement as the first because I've finnaly got a good grip on what a quintet or quartet solo strings should sound like. It turns out that the velocity level of the solo strings is very potent. To acheive the piano sound of strings the notes are at bottom of the velocity level. ( notes are purple and blue never over ) the faders are at level not even up. There is a viola detatche' patch that is good enough to play live. Also I found out that, if I do play each part as an audition to add with other parts and take that part and notate it, then the mix sounds more real. again the stacatoes are the exeptions. I'm trying to finish this CD by summer. I doubt it but who knows ? the publishers are working on the second revision of my book, I've waisted some time there, just about to finish that. All in all, Snail pace. I've accumulated an enormous amount of past material that needs VSL input thats yet to be completed, in the form of songs. The mixing alone would take more than a years if every day. I'm engulfed with work thats not completed. The publishers want me to finish the classical CD and go out and hump my book with it. I've got so many directions that i'm just not even thinking of. Producing is the composition.