Standard notation practice (not folk musicians notation practice)
would be to write an E Dorian tune with the E minor/G major key
signature of one sharp (F#) and then sharp the individual Cs in
the tune. It needs to be explained to a classical musician that
in traditional music it's a common
Toby Rider wrote:
Which is too bad, because improvisation is a cool
thing. All of those
blues solos are built around improvisation on altered
pentatonic scales..
If they're altered, are they still pentatonic?
Regards,
Ted
Posted to Scots-L - The Traditional Scottish Music Culture
The distinction you're describing only applies to classical music from
a very short period, roughly 1750-1880.
What about 1880 to 2003?
http://www.danmozell.com
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Jim Dawson wrote:
Alan MacDonald.. in fact wrote a thesis on the subject of pibroch and
his conclusion was that modern pibroch,
to which you refer was actually a fabrication of what real pibroch was.
And is not 'real pibroch' also a fabrication?!? Or did it arrive with the rest
of the
Since i am usually dumbfounded (in a good way) by
pibroch, i would appreciate a brief lesson on the
difference between real and fabricated. Or, if too
much for a post here, direction to Alan MacDonald's
thesis. Thanks.
ca
--- Matt Seattle [EMAIL PROTECTED] wrote:
Jim Dawson wrote:
Alan
Ted Hastings wrote:
Toby Rider wrote:
Which is too bad, because improvisation is a cool
thing. All of those
blues solos are built around improvisation on altered
pentatonic scales..
If they're altered, are they still pentatonic?
Well, that's a good question.. They call them blues scales
