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#53847 From: <lpayne1@...>
Date: Mon Nov 9, 2009 6:33 pm
Subject: RE: Jazz voicing mystery
laurencepayne
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I wouldn't call the added 6th a colour note, rather Polyfiller to bridge the
gap when the maj7th ain't there.

..........................
Now, maybe.  But in many popular styles through the middle half of the last
century it was ubiquitous.  Rather as the add9 (or add6/9) has become in
today's pop ballads.

#53846 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 6:28 pm
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fascistphobe
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Adrian wrote:

>> Regarding more complex voicing, I have a simple rule:  4-part,
>> drop-2 blocks
>> in which the bottom note goes no lower than the D string.  Root and
>> 5th can
>> be added on the bottom two strings, if needed.

So maybe I'm missing the concept here Adrian. Sorry if I'm being
thick here.
The chord name Cmaj13(#11).

I need to  hear the third.  Using your formula, what are the notes?

The best guitar voicing I could think of  was (from the bottom) C
(unecessary)EABF#. And way too much thought to work it out.

Trying to learn,

Steven

#53845 From: Wallace DePue <wdepue@...>
Date: Mon Nov 9, 2009 6:21 pm
Subject: RELAXED
wdepue@...
Send Email Send Email
 
Hi Listers!

Although I have expressed my thanks to all of you, individually, who
tried to help me with my HP 6.1 problem,
I want to tell you, collectively, how much I appreciate being on this
list of colleagues and friends.

One friend sent me a long, detailed list of directions.  Because,
after remembering that I am, "computer challenged,"
he called me on the phone to walk me through the entire list.  We
spent at least an hour in discussion and in
"watching paint dry."

As we proceeded, item-by-item, it became clear to both of us that I,
alone, would NEVER have been able to
follow all of the directions without a constant advisor.  There were
points where both of us wondered what
to do!  My friend and I took a deep breath before "the moment of
truth"; a key stabbed the computer and...
WE WON!

To say that I am grateful to you all, and especially to my
"supervisor," would be a gross understatement.  At last, I'm
back in business...and, at last, RELAXED.

Have a TERRIFIC week!


Walli

#53844 From: Bob Morabito <bobmorabito@...>
Date: Mon Nov 9, 2009 5:58 pm
Subject: Re: Re: STIFFED! (now SOLVED!!:)
bobmorabito
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Walli's printer is now working fine--the procedure below worked like a charm, n case anyone is in the same boat as he was...

YAY!!
:):)

Bob


On Nov 7, 2009, at 8:36 PM, Bob Morabito wrote:


Hi Walli--more on this, backing up what I had sent previously--it seems to be the way to do it:



I uninstalled the software, downloaded a fresh copy of the OS X 10.5 drivers, installed them and .... voila! Working again.

On Nov 7, 2009, at 8:18 PM, Bob Morabito wrote:

Hi Walli--

I found this--
Bob




<Picture 252.png>



#53843 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 5:25 pm
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fascistphobe
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On Nov 9, 2009, at 9:01 AM, Steven Schuster wrote:

>
>> In the time it takes to edit them, it is just as quick to write them
>> yourself from scratch.
>
> I guess you are faster than I am, Adrian.

And when you wrote:

"Whenever I feel the need to include guitar playback I find it easy
to play
in simple notation, usually just 3rd and 7th are all that are needed in
conjunction with the bass part to provide a satisfactory background."

I agree totally, and I wish  real guitarists would use the same
minimalism and taste.  Usually they don't.


> Regarding more complex voicing, I have a simple rule:  4-part,
> drop-2 blocks
> in which the bottom note goes no lower than the D string.  Root and
> 5th can
> be added on the bottom two strings, if needed.  God knows what rule
> the
> plug-in uses.

A good general purpose solution I'd guess.  Is it congruent with the
way a guitar is laid out? The time necessary for me to visualize
fingers on a fret board is too great for the quick sketches I use the
plug in for.  Mysterious instrument.
I just assume that the plug-in solutions are at least possible though
not necessarily desirable on a guitar.

>>
>>
>>> I tried "explode" at your suggestion, having no problem with
>>> letting the computer make such relatively mechanical decisions.  It
>>> too needed editing, and didn't save time for me.
>>
>>
>> You don't have to let Sibelius make *any* decisions about note
>> distribution.
>> When I use Explode I alone make all the decisions on what goes
>> where.

I realize this.  Am I wrong in thinking you use this as way of
converting midi-ed in grand staff stuff?

>>   I use Sib
>> as a
>> tool, not a crutch.


I too.  Sometimes I am a mason building a wall to get rid of field
stones, and sometimes I am (delusionally) building Chartes
cathedral.  Same tools, different degrees of time commitment, care,
and use of tools.

Steven

>>
>> A.
>>
>>
>>
>>
>> ------------------------------------
>>
>> Sponsored by Kelly's Music & Computers - http://
>> kellysmusic.netYahoo! Groups Links
>>
>>
>>
>
>
>
> ------------------------------------
>
> Sponsored by Kelly's Music & Computers - http://
> kellysmusic.netYahoo! Groups Links
>
>
>

#53842 From: John Howell <John.Howell@...>
Date: Mon Nov 9, 2009 5:21 pm
Subject: RE: Jazz voicing mystery
John.Howell@...
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At 5:14 PM +0000 11/9/09, Adrian Drover wrote:
>From: Laurence Payne
>>
>Or, very often, just stay there as a colour note with no harmonic function
>or feeling of tension.  Like the added 6th did for much of the last century.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>
>
>I wouldn't call the added 6th a colour note, rather Polyfiller to bridge the
>gap when the maj7th ain't there.

Not at mid-century, roughly 1930s-60s.  It was the default tonic
chord and the default subdominant chord.  Uninflected triads were
pretty rare.  Moreso in vocal group voicings than in big band, of
course.  Passing chords leaned heavily on minor 7ths and diminished
7ths, unless the style was deliberately parallel voicings.  The Four
Freshmen and Hi-Los were really the first vocal groups to exploit
major 7ths (1950s).  The preceding big band vocal groups, not nearly
as much.  Country and traditional were basically triadic, of course,
and still are.

John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:John.Howell@...)
http://www.music.vt.edu/faculty/howell/howell.html

"We never play anything the same way once."  Shelly Manne's definition
of jazz musicians.

#53841 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 5:14 pm
Subject: RE: Jazz voicing mystery
adriandrover
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From: Laurence Payne
>
Or, very often, just stay there as a colour note with no harmonic function
or feeling of tension.  Like the added 6th did for much of the last century.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>


I wouldn't call the added 6th a colour note, rather Polyfiller to bridge the
gap when the maj7th ain't there.

A.

#53840 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 5:05 pm
Subject: RE: Re: Creating chord slashes - can't remember the easy way
adriandrover
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> From: Nigel Stanley
>
> And generating good playable guitar voicings for every possible jazz
> chord is no trivial task - especially for a plug in.


4-part, drop-2 blocks in which the bottom note is playable on the D string,
extensions on the two top strings, 3rd & 7th on the middle strings, added
root and 5th on the two lowest strings if required (usually not when they
get in the way of the walking bass part).  Eazy-peazy.  In fact I learned
that out of curiosity from investigating Sib's guitar TAB staves to see how
the fingers lie on the fretboard.

A.

#53839 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 5:03 pm
Subject: Re: Jazz voicing mystery
fascistphobe
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On Nov 9, 2009, at 8:57 AM, Laurence Payne wrote:
> Sure, if you’re thinking pile-of-thirds dominant 7th chord
> extensions.  But most of the world didn’t do a jazz course at
> Berklee J
>
> In real life Bb11 very often means Eb/Bb, Fm7/Bb or just plain
> Bb7sus4.
>

Or, apparently, Ab/Bb

#53838 From: Nigel Stanley <nigel.stanley@...>
Date: Mon Nov 9, 2009 5:00 pm
Subject: Re: Jazz voicing mystery
nigel_stanleyuk
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2009/11/9 Paul Clark <pclark@...>:
>
> On Nov 9, 2009, at 10:13 AM, John Howell wrote:
>>  Isn't the usual
>> rule of thumb #11 for a major chord, lowered 11
>> for a minor chord?  A #11 chord is actually a II
>> major triad over a I7.)
>
> Yes - but some think the 5th shouldn't be used.
> Think it depends on where you put it.
> Paul
>

I think using 11 on a chord should be discouraged. It's ambiguous
(otherwise we wouldn't be trading emails about what it means). It's
most common use I suspect is as 7(sus) - so write that.




--
Nigel Stanley

#53837 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 5:01 pm
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fascistphobe
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On Nov 9, 2009, at 8:44 AM, Adrian Drover wrote:

>
>
>> From: Steven Schuster
>>
>> I don't feel I need any excuses for using what is useful to me.  I
>> realize it is not useful for you.  It might be useful to someone
>> else.
>
>
> Steven, the results I have seen from the chord realization plug-in
> are only
> useful to someone who doesn't give a shit whether or not they sound
> right.
> In the time it takes to edit them, it is just as quick to write them
> yourself from scratch.

I guess you are faster than I am, Adrian.

You have developed
>
>
>> I'm enjoying
>> being able to work out of my head, not my fingers. I even feel
>> embarrassed at having to occasionally use my piano when imagination
>> fails.
>
>
> I write all my charts by ear.  In fact I do most of my sketching
> away from
> the computer and piano with pencil on paper.  I only use the keyboard
> because it is a quick and convenient way of transferring notes from
> my head
> to the score.
>
>
>> I tried "explode" at your suggestion, having no problem with
>> letting the computer make such relatively mechanical decisions.  It
>> too needed editing, and didn't save time for me.
>
>
> You don't have to let Sibelius make *any* decisions about note
> distribution.
> When I use Explode I alone make all the decisions on what goes
> where.  That
> is why I have spent much valuable time in the past editing the
> restrictive
> ranges Sib imposes on its instruments.  Once you have everything
> set up
> correctly and saved in your template, Explode will deliver the
> notes you
> want to the staves you want.  It's a pity that the manual doesn't
> tell you
> that instead of telling everyone that it has built in
> intelligence.  It has
> the intelligence of the aforementioned deaf chimpanzee.  I use Sib
> as a
> tool, not a crutch.
>
> A.
>
>
>
>
> ------------------------------------
>
> Sponsored by Kelly's Music & Computers - http://
> kellysmusic.netYahoo! Groups Links
>
>
>

#53836 From: "Laurence Payne" <lpayne1@...>
Date: Mon Nov 9, 2009 4:57 pm
Subject: RE: Jazz voicing mystery
laurencepayne
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(I wondered about the Bb11, too. Isn't the usual
rule of thumb #11 for a major chord, lowered 11
for a minor chord? A #11 chord is actually a II
major triad over a I7.)
………………………………

Sure, if you’re thinking pile-of-thirds dominant 7th chord extensions.  But most of the world didn’t do a jazz course at Berklee J

In real life Bb11 very often means Eb/Bb, Fm7/Bb or just plain Bb7sus4.

 


#53835 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 4:44 pm
Subject: RE: Re: Creating chord slashes - can't remember the easy way
adriandrover
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> From: Steven Schuster
>
> I don't feel I need any excuses for using what is useful to me.  I
> realize it is not useful for you.  It might be useful to someone
> else.


Steven, the results I have seen from the chord realization plug-in are only
useful to someone who doesn't give a shit whether or not they sound right.
In the time it takes to edit them, it is just as quick to write them
yourself from scratch.


> I'm enjoying
> being able to work out of my head, not my fingers. I even feel
> embarrassed at having to occasionally use my piano when imagination
> fails.


I write all my charts by ear.  In fact I do most of my sketching away from
the computer and piano with pencil on paper.  I only use the keyboard
because it is a quick and convenient way of transferring notes from my head
to the score.


> I tried "explode" at your suggestion, having no problem with
> letting the computer make such relatively mechanical decisions.  It
> too needed editing, and didn't save time for me.


You don't have to let Sibelius make *any* decisions about note distribution.
When I use Explode I alone make all the decisions on what goes where.  That
is why I have spent much valuable time in the past editing the restrictive
ranges Sib imposes on its instruments.  Once you have everything set up
correctly and saved in your template, Explode will deliver the notes you
want to the staves you want.  It's a pity that the manual doesn't tell you
that instead of telling everyone that it has built in intelligence.  It has
the intelligence of the aforementioned deaf chimpanzee.  I use Sib as a
tool, not a crutch.

A.

#53834 From: Peter Smith <peter.smith.sib@...>
Date: Mon Nov 9, 2009 4:43 pm
Subject: Re: Re: Sibelius' Registration - terrible.
bty806652
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Not sure how you are viewing messages, Christopher.
 
Daniel's address is
 
 
HTH
 
Peter Smith



#53833 From: Paul Clark <pclark@...>
Date: Mon Nov 9, 2009 4:17 pm
Subject: Re: Jazz voicing mystery
follies2003
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On Nov 9, 2009, at 10:13 AM, John Howell wrote:
>  Isn't the usual
> rule of thumb #11 for a major chord, lowered 11
> for a minor chord?  A #11 chord is actually a II
> major triad over a I7.)

Yes - but some think the 5th shouldn't be used.
Think it depends on where you put it.
Paul

#53832 From: John Howell <John.Howell@...>
Date: Mon Nov 9, 2009 4:13 pm
Subject: RE: Jazz voicing mystery
John.Howell@...
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At 11:15 AM +0000 11/9/09, Laurence Payne wrote:
>Now, shall we investigate figured bass, 17th
>century ornamentation and when to play notes
>inégales?

Oh goody!  Sure; let's!!  Although there's a lot
more available on 16th and 18th century
ornamentation than on 17th.

(I wondered about the Bb11, too.  Isn't the usual
rule of thumb #11 for a major chord, lowered 11
for a minor chord?  A #11 chord is actually a II
major triad over a I7.)

John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:John.Howell@...)
http://www.music.vt.edu/faculty/howell/howell.html

"We never play anything the same way once."  Shelly Manne's definition
of jazz musicians.

#53831 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 3:26 pm
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fascistphobe
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On Nov 9, 2009, at 12:13 AM, Adrian Drover wrote:

>
>
>> From: Steven Schuster
>>
>> Patronize away mon frer.
>> It's a quick workaround.  Useful for me.  Not for you.
>
>
> I wasn't patronizing at all, Steven.  You yourself admitted that your
> editing sounded like crap.
Actually I meant the parts were crap.  My edits sounding pretty much
like the non edited parts, which sound like crap.  If I spent
(wasted) more time making my edited material sound better than the
untouched stuff, it would have called attention to itself.  I just
put in similar bad voicings (but the right chords) so they wouldn't
stand out from the offal around them. The render chords plugins
(sounds presciently like a meatpacking metaphor, I admit)
aren't renderings of the parts, nor intended to be, just a harmonic
pad to hear other parts against.
> I was just pointing out *why* it sounded like
> crap, but I'm sure you know that.  Others may not.  I realize that
> you have
> limited hardware for the input of notated chords, but that's hardly an
> excuse for making do.
I don't feel I need any excuses for using what is useful to me.  I
realize it is not useful for you.  It might be useful to someone
else.  I actually have the hardware to input by midi if I were to
chose to do it that way (and learn Sibelius' process of doing so).
It would mean working in one location, in my house. I'm enjoying
being able to work out of my head, not my fingers. I even feel
embarrassed at having to occasionally use my piano when imagination
fails.

> Regarding the realization plug-in, I wouldn't touch
> it with a barge pole.  It's absolutely dreadful.  Voicing from
> hell.  Are
> these chords computer generated or thought up by a deaf chimpanzee?
How do you really feel?

To understand why some plugins are valuable to some, and not to
others:  I would suggest that the arrange-explode plugins are
absolutely useless to me, using the way I enter music.  It is no
easier to put music on a grand staff and then assign that staff's
notes to multiple staves than to do it on all staves at the same
time.  I tried "explode" at your suggestion, having no problem with
letting the computer make such relatively mechanical decisions.  It
too needed editing, and didn't save time for me.  Not the plugins
fault that I have no use for it. If I inputted by midi, I'm pretty
sure it would have value for me.  I'm also pretty sure that I'd have
to override some of its decisions.

Steven
>
> A.
>
>
>
>
> ------------------------------------
>
> Sponsored by Kelly's Music & Computers - http://
> kellysmusic.netYahoo! Groups Links
>
>
>

#53830 From: "Laurence Payne" <lpayne1@...>
Date: Mon Nov 9, 2009 2:37 pm
Subject: RE: Jazz voicing mystery
laurencepayne
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Would that be Julio Inégales?

……………………………………..

Not to be confused with the window salesman, Julio Doubleglazing….

 


#53829 From: "Laurence Payne" <lpayne1@...>
Date: Mon Nov 9, 2009 2:36 pm
Subject: RE: Jazz voicing mystery
laurencepayne
Offline Offline
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> I simply don't understand why a A9 is any different from an A2,

I would say that the 2nd is a suspension, could resolve downward to the root
(intro to Bacharach's "Close to You") or upward to the 3rd (motif from
Bernstein's "Somewhere"),

…………………………..

Or, very often, just stay there as a colour note with no harmonic function or feeling of tension.  Like the added 6th did for much of the last century.

 


#53828 From: Nigel Stanley <nigel.stanley@...>
Date: Mon Nov 9, 2009 1:00 pm
Subject: Re: Re: Creating chord slashes - can't remember the easy way
nigel_stanleyuk
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This is one of those "horses for courses" discussions.

Sometimes the plug-in is useful  It's good when I'm doing a ska chart
and just want simple chords on every 'and'.

But it's not compulsory.

And generating good playable guitar voicings for every possible jazz
chord is no trivial task - especially for a plug in.

I wouldn't use if for more demanding jazz - where I might do it myself
or use Band in a Box to generate a rhythm section part if it's mostly
left to the rhythm section rather than written out by note.

2009/11/9 Steven Schuster <realityschuster@...>:
>>
>> It would take me less than one minute to play much nicer sounding
>> guitar
>> voicings into the score.
> Inputting off a keypadless keyboard?
>>
>>
>>> It sounds like crap, but
>>> it does give me the basic sounds of an accompaniment.
>>
>>
>> The reason it sounds like crap, Steven, is because you still have
>> some very
>> muddy voicings even after editing the plug-in mess.  I suppose you
>> know that
>> these chords sound an octave lower than the written part.
>
> Patronize away mon frer.
>
> It's a quick workaround.  Useful for me.  Not for you.
>
> Steven
>>
>> A.
>>
>>
>
>
>
> ------------------------------------
>
> Sponsored by Kelly's Music & Computers - http://kellysmusic.netYahoo! Groups
Links
>
>
>
>



--
Nigel Stanley

#53827 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 12:46 pm
Subject: RE: Re: Creating chord slashes - can't remember the easy way
adriandrover
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From: Laurence Payne
>
And there's an orangeorilla plugin available from Sibelius Australia.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>


I think that's the Skippy plug-in, tho' you may be right, Laurence, some of
those realizations do look as if they're upside-down.

A.

#53826 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 12:40 pm
Subject: RE: Jazz voicing mystery
adriandrover
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From: Laurence Payne
>
Now, shall we investigate figured bass, 17th century ornamentation and when
to play notes inégales? 


Would that be Julio Inégales?

A.

#53825 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 12:29 pm
Subject: RE: Jazz voicing mystery
adriandrover
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> From: Gerhard Torges
>
> I simply don't understand why a A9 is any different from an A2,

I would say that the 2nd is a suspension, could resolve downward to the root
(intro to Bacharach's "Close to You") or upward to the 3rd (motif from
Bernstein's "Somewhere"), whereas the 9th is a chord extension (ideally
progressing smoothly to the 5th or 13th in the next chord of a cycle).


> why the 3rd shoukd be omitted in Bb11 etc. etc.


Because the 11th in a dominant chord functions as a suspended 4th.  It's not
normal practice to have suspension and resolution sounding simultaneously.

A.

#53824 From: "christopherbayley" <christopher@...>
Date: Mon Nov 9, 2009 12:22 pm
Subject: Re: Sibelius' Registration - terrible.
christopherb...
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Daniel,

Good morning. I've resent the email. The Yahoo list is making me send the emails
through Yahoo's form rather than through my mail client. It is also changing
your email address to appear as <daniel.spreadbury@...> so I can't see your full
email address. I believe this is to prevent spam. If you don't receive the email
this time please let me know the domain name following the @ in your email and
I'll try to email you directly. Thanks.

--- In sibelius-list@yahoogroups.com, Daniel Spreadbury <daniel.spreadbury@...>
wrote:
>
>
> I've not received this email yet.  Would you like to re-send?
>
> --
> Daniel Spreadbury
> Senior Product Manager | Sibelius R & D
>
> Avid
> Unit 20-23 City North
> Fonthill Road
> London N4 3HF
> United Kingdom
> daniel.spreadbury@...

#53823 From: "Laurence Payne" <lpayne1@...>
Date: Mon Nov 9, 2009 11:19 am
Subject: RE: Re: Creating chord slashes - can't remember the easy way
laurencepayne
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> Are these chords computer generated or thought up by a deaf chimpanzee?

Yet another undocumented preference.
……………………

You can choose deaf or blind (in which case you get perfectly-voiced but random chords).  And there’s an orangeorilla plugin available from Sibelius Australia.

 


#53822 From: "Laurence Payne" <lpayne1@...>
Date: Mon Nov 9, 2009 11:15 am
Subject: RE: Jazz voicing mystery
laurencepayne
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Would you enlighten me about all the mystery of jazz voicings?
I simply don't understand why a A9 is any different from an A2, why
the 3rd shoukd be omitted in Bb11 etc. etc.
…………………………

A9 is an extension of a dominant 7th type chord.  A2 - or A(add2) – doesn’t imply the minor seventh.  There’s also A(add9).  No dominant function implied there either.  Or A(maj9) which implies the major 7th.   Why have both A2 and A(add9)?  Well, if you want the Floyd Cramer voicing A2 conveys it immediately, unambiguously and compactly.  That’s good enough for me!

Bb11 is a somewhat ambiguous one.  Probably it SHOULD mean Fm7/Bb.   Often it means Eb/Bb.  It might even mean Bb(sus4) or Bb7(sus4).  Or it may just be a great colourful pile of notes with no particular harmonic function (try the #11 in this case).  In all but the last, the Eb is going to sound like it wants to resolve to D.  So including the D sounds odd. 

Now, shall we investigate figured bass, 17th century ornamentation and when to play notes inégales?  J

 


#53821 From: Gerhard Torges <sibelius.list.gt.2008.05.05@...>
Date: Mon Nov 9, 2009 10:39 am
Subject: Jazz voicing mystery
yidgt20080131
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Hello Adrian!

Am 08.11.2009 um 14:13 schrieb Adrian Drover:

> It didn't recognize any "7b9" type chord which I believe is Sib's
> recommended way of typing it.
> The Am9 is badly voiced.
> The Gmaj7 unbelievably has the 9th on the 5th string (just a 2nd
> apart from
> the root on the 6th string).
> The Fmaj7 has the 3rd in a very muddy 5th string register.
> It fails to omit the 3rd in a Dom11th (Bb11) chord.
> In the Am7b5 the b5 is in the muddy 5th string register.
> A rather muddy E+7 voicing, barely passable.

Would you enlighten me about all the mystery of jazz voicings?
I simply don't understand why a A9 is any different from an A2, why
the 3rd shoukd be omitted in Bb11 etc. etc.

Regards,


Gerhard

#53820 From: Frank Wales <frank@...>
Date: Mon Nov 9, 2009 8:45 am
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fcw7yho
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Adrian Drover wrote:
> Are these chords computer generated or thought up by a deaf chimpanzee?

Yet another undocumented preference.
--
Frank Wales [frank@...]

#53819 From: "Adrian Drover" <ii-v-i@...>
Date: Mon Nov 9, 2009 8:13 am
Subject: RE: Re: Creating chord slashes - can't remember the easy way
adriandrover
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> From: Steven Schuster
>
> Patronize away mon frer.
> It's a quick workaround.  Useful for me.  Not for you.


I wasn't patronizing at all, Steven.  You yourself admitted that your
editing sounded like crap.  I was just pointing out *why* it sounded like
crap, but I'm sure you know that.  Others may not.  I realize that you have
limited hardware for the input of notated chords, but that's hardly an
excuse for making do.  Regarding the realization plug-in, I wouldn't touch
it with a barge pole.  It's absolutely dreadful.  Voicing from hell.  Are
these chords computer generated or thought up by a deaf chimpanzee?

A.

#53818 From: Steven Schuster <realityschuster@...>
Date: Mon Nov 9, 2009 3:09 am
Subject: Re: Re: Creating chord slashes - can't remember the easy way
fascistphobe
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>
> It would take me less than one minute to play much nicer sounding
> guitar
> voicings into the score.
Inputting off a keypadless keyboard?
>
>
>> It sounds like crap, but
>> it does give me the basic sounds of an accompaniment.
>
>
> The reason it sounds like crap, Steven, is because you still have
> some very
> muddy voicings even after editing the plug-in mess.  I suppose you
> know that
> these chords sound an octave lower than the written part.

Patronize away mon frer.

It's a quick workaround.  Useful for me.  Not for you.

Steven
>
> A.
>
>

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