To hell with the iPhone, this is the gadget I want: Mark 7 Rhodes piano. The specs have got me excited as hell, I can’t wait to hear this thing. It’s a true electromechanical piano, like the old school Mark I and II, not electronic like the Chroma.
read more of Fender Rhodes Mark 7 sighting
Hey I’m on a roll today with the theory, so here’s a crazy uptempo bebop video to chomp on while you digest all the basic theory crud.
read more of video: Donna Lee
The circle of fifths is a fundamental construct in music theory. There’s a damn good article about it on Wikipedia, so I intend here to explain several of the ways that it is useful to those who study music. I hope to make it relevant to a working musician (or one who aspires to be).
read more of circle of fifths
This is a sort of a basic theory topic compared to my usual discussions, but it’s an interesting question asked on one of the theory baords on Orkut, and I decided to repost my reply here for those interested.
The question, paraphrased, is:
Is there an explanation to why the tones are named major second, major third, perfect fifth etc with respect to the ratio of frequencies?
11/10, 10/9, 9/8, 8/7 have all been described as the interval of a major second.
How do we tell a major second from a minor third? When does a major second stop and a minor third begin? Is there something about the ratios or their cent values that I’m missing?
Another devastating loss for the world of music. Brecker was more like a force of nature than a saxophone player. I’m thankful at least that I did get to see him perform live once, and even to briefly speak with him after the performance.
Here’s an original tune. I owe everyone that, I haven’t posted in a long time.
read more of video: wedding song
