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	<title>musical thoughts &#187; theory</title>
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	<link>http://music.linear1.org</link>
	<description>transfusing emptiness into vacancy</description>
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		<title>more on tension and release</title>
		<link>http://music.linear1.org/2007/11/19/more-on-tension-and-release/</link>
		<comments>http://music.linear1.org/2007/11/19/more-on-tension-and-release/#comments</comments>
		<pubDate>Mon, 19 Nov 2007 16:34:49 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>
		<category><![CDATA[tutorial]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/11/19/more-on-tension-and-release/</guid>
		<description><![CDATA[This is a worthwhile topic, so here are some more thoughts continuing the discussion of tension and release. Actually, I found this text file sitting around (I wrote it but seemingly never posted it).

Here&#8217;s something I believe to be an axiom: creativity flowers in the face of constraints. Paradoxically, jazz is dedicated to the idea [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>video: Somewhere Over the Rainbow</title>
		<link>http://music.linear1.org/2007/08/26/video-somewhere-over-the-rainbow/</link>
		<comments>http://music.linear1.org/2007/08/26/video-somewhere-over-the-rainbow/#comments</comments>
		<pubDate>Mon, 27 Aug 2007 02:08:33 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[Rhodes]]></category>
		<category><![CDATA[theory]]></category>
		<category><![CDATA[tutorial]]></category>
		<category><![CDATA[videos]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/08/26/video-somewhere-over-the-rainbow/</guid>
		<description><![CDATA[To borrow 7notemode&#8217;s term, this is an encyclopedia of reharmonizations for the well-known standard. It&#8217;s presented in video form.

Since you&#8217;re here, you are undoubtedly interested in this material. So I am making available the charts I played this from. I was going to recopy them nicely, but I think the real charts I sketched on [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>upper structures</title>
		<link>http://music.linear1.org/2007/04/20/upper-structures/</link>
		<comments>http://music.linear1.org/2007/04/20/upper-structures/#comments</comments>
		<pubDate>Fri, 20 Apr 2007 14:35:23 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>

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		<description><![CDATA[More recycled material here, this is a discussion of upper structure chord voicings.

Since the voicings topics are generally well-received, here&#8217;s some more ideas for making modern jazz sounds.
An &#8220;upper structure&#8221; is sometimes called a &#8220;slash chord.&#8221; You get a symbol with one chord symbol, a slash, and a root that usually belongs to a different [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>chord voicings</title>
		<link>http://music.linear1.org/2007/03/23/chord-voicings/</link>
		<comments>http://music.linear1.org/2007/03/23/chord-voicings/#comments</comments>
		<pubDate>Sat, 24 Mar 2007 04:00:03 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/03/23/chord-voicings/</guid>
		<description><![CDATA[Okay, this should do everyone some good, but it may be difficult for me to convey to guitarists. Apologies in advance for my lack of guitar skills. If you are habitually playing voicings with the root in them (especially in the middle or at the bottom), this article is for you.

Generally you learn theory by [...]]]></description>
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		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>abstraction is a mental lever</title>
		<link>http://music.linear1.org/2007/03/23/abstraction-is-a-mental-lever/</link>
		<comments>http://music.linear1.org/2007/03/23/abstraction-is-a-mental-lever/#comments</comments>
		<pubDate>Sat, 24 Mar 2007 03:54:49 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[music cognition]]></category>
		<category><![CDATA[theory]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/03/23/abstraction-is-a-mental-lever/</guid>
		<description><![CDATA[What the heck is this guy talking about now? Mental lever? Like a crowbar for your brain?

Alright, a while back I introduced the mental representation of music idea, and talked about how mental manipulation of musical imagery is what trained musicians do. I&#8217;ve been having some conversation with a friend recently who&#8217;s trying to bring [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>analysis: Django</title>
		<link>http://music.linear1.org/2007/02/17/analysis-django/</link>
		<comments>http://music.linear1.org/2007/02/17/analysis-django/#comments</comments>
		<pubDate>Sat, 17 Feb 2007 15:30:16 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>
		<category><![CDATA[transcription]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/02/17/analysis-django/</guid>
		<description><![CDATA[I transcribed the John Lewis composition Django several years ago because I never saw a lead sheet for it that accounted for the different changes that they solo over. All the fake books I&#8217;ve seen just list the 20-bar head. So here&#8217;s my chart in case you want to play the tune the way MJQ [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>circle of fifths</title>
		<link>http://music.linear1.org/2007/01/17/circle-of-fifths/</link>
		<comments>http://music.linear1.org/2007/01/17/circle-of-fifths/#comments</comments>
		<pubDate>Wed, 17 Jan 2007 18:38:41 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2007/01/17/circle-of-fifths/</guid>
		<description><![CDATA[The circle of fifths is a fundamental construct in music theory. There&#8217;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).

First, [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>major, minor, and perfect intervals</title>
		<link>http://music.linear1.org/2007/01/17/major-minor-and-perfect-intervals/</link>
		<comments>http://music.linear1.org/2007/01/17/major-minor-and-perfect-intervals/#comments</comments>
		<pubDate>Wed, 17 Jan 2007 17:27:59 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>

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		<description><![CDATA[This is a sort of a basic theory topic compared to my usual discussions, but it&#8217;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, [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>transcription: Warm Valley</title>
		<link>http://music.linear1.org/2006/11/19/transcription-warm-valley/</link>
		<comments>http://music.linear1.org/2006/11/19/transcription-warm-valley/#comments</comments>
		<pubDate>Sun, 19 Nov 2006 05:51:03 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>
		<category><![CDATA[transcription]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2006/11/19/transcription-warm-valley/</guid>
		<description><![CDATA[Another case of transcription with a bonus analysis at no extra charge. Warm Valley is a marvelous Duke Ellington composition. It doesn&#8217;t get played enough, probably because it&#8217;s in very few fakebooks. When it does appear it&#8217;s hideously disfigured (at least the chart I finally found turned out to be grievously flawed).

I do not have [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>dominant chords</title>
		<link>http://music.linear1.org/2006/10/25/dominant-chords/</link>
		<comments>http://music.linear1.org/2006/10/25/dominant-chords/#comments</comments>
		<pubDate>Thu, 26 Oct 2006 02:02:38 +0000</pubDate>
		<dc:creator>Rob</dc:creator>
				<category><![CDATA[theory]]></category>

		<guid isPermaLink="false">http://music.linear1.org/2006/10/25/dominant-chords/</guid>
		<description><![CDATA[The dominant chord is the most important chord. Hence the name. But you may be wondering:
what&#8217;s so important about it?

The dominant -> tonic (V->I) progression is really the foundation of western harmony. The classical theory term is authentic cadence. It&#8217;s importance stems from how it&#8217;s used to set an expectation of what is to follow. [...]]]></description>
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		<slash:comments>4</slash:comments>
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