On Nov 22, 2007, at 5:32 AM, Christopher Smith wrote:
Heh, heh! It's overused, and anything overused gets old and by
extension, tasteless.
Well, I'm out of touch with just about every music community now, so
I have no idea what's overdone. I can only judge things in isolation
based on m
Mark D Lew wrote:
On Nov 21, 2007, at 5:57 AM, Christopher Smith wrote:
Barry Manilow (over)uses the previous tonic to become the new leading
tone when he modulates up a semitone, which is widely considered to be
tasteless these days.
Really? That's tasteless? It seems perfectly fine to me
On Nov 22, 2007, at 1:02 PM, Darcy James Argue wrote:
Barry Manilow uses the half-step up modulation on the last chorus
in practically every tune. It's true there's nothing inherently
wrong with that device, but when it becomes a crutch, an easy way
to give a boost to the end of every sing
Barry Manilow uses the half-step up modulation on the last chorus in
practically every tune. It's true there's nothing inherently wrong
with that device, but when it becomes a crutch, an easy way to give a
boost to the end of every single tune, it gets real old real fast.
Stevie Wonder ofte
At 5:01 AM -0800 11/22/07, Mark D Lew wrote:
On Nov 21, 2007, at 5:57 AM, Christopher Smith wrote:
Barry Manilow (over)uses the previous tonic to
become the new leading tone when he modulates
up a semitone, which is widely considered to be
tasteless these days.
Really? That's tasteless? I
On Nov 22, 2007, at 8:01 AM, Mark D Lew wrote:
On Nov 21, 2007, at 5:57 AM, Christopher Smith wrote:
Barry Manilow (over)uses the previous tonic to become the new
leading tone when he modulates up a semitone, which is widely
considered to be tasteless these days.
Really? That's tasteles
On Nov 21, 2007, at 5:57 AM, Christopher Smith wrote:
Barry Manilow (over)uses the previous tonic to become the new
leading tone when he modulates up a semitone, which is widely
considered to be tasteless these days.
Really? That's tasteless? It seems perfectly fine to me. Rather
ordin
On Nov 21, 2007, at 1:38 PM, Chuck Israels wrote:
Hi Christopher,
There you go again giving concise, intelligent, informed, and
pretty thorough responses.
Heh, heh! Concise? That's the first time anybody ever accused me of
that!
Thanks for the compliment. Coming from you, it is high
ah, it's true that there's a bit too much style-specific beethoven
discussion in these books.
peronally i just don't think in terms of keys. i mean, i can step back and
analyze what i've done and realize where the key changes are, and in fact
one often ends up with long ambiguous regions which ar
Hi Christopher,
There you go again giving concise, intelligent, informed, and pretty
thorough responses.
Chuck
On Nov 21, 2007, at 5:57 AM, Christopher Smith wrote:
On Nov 21, 2007, at 8:23 AM, Lawrence David Eden wrote:
Greetings Listers,
I need an (elementary) book that explains how
On Nov 21, 2007, at 8:23 AM, Lawrence David Eden wrote:
Greetings Listers,
I need an (elementary) book that explains how to make smooth key
changes in compositions.
I hope that some of you can recommend a title or two.
Hmm, I find the books always go on in great detail about how
Beethov
harmony and voice leading by aldwell and schacter.
On 21/11/2007, Lawrence David Eden <[EMAIL PROTECTED]> wrote:
>
> Greetings Listers,
>
> I need an (elementary) book that explains how to make smooth key
> changes in compositions.
> I hope that some of you can recommend a title or two.
>
> Thanks
Greetings Listers,
I need an (elementary) book that explains how to make smooth key
changes in compositions.
I hope that some of you can recommend a title or two.
Thanks
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