posted 26 October 1999 05:56 AM         

Hope this helps. As I said, I'm sure there are many other uses and ways of thinking about the F#, and I'll be reading them along with you!

posted 26 October 1999 06:49 AM         

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[This message was edited by Keith Hilton on 10-26-99]

posted 26 October 1999 11:24 AM         

[This message was edited by Earl Erb on 10-26-99]

posted 26 October 1999 11:44 AM         

quote:

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I consider it a stretch to say that a C7th chord{CEGBb]and the F#7th chord{F#A#C#E} being related.

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posted 26 October 1999 12:16 PM         

[This message was edited by Earl Erb on 10-26-99]

posted 26 October 1999 03:45 PM         

If anybody's interested in checking out a fairly radical harmony/theory book, you might want to look into "The Lydian Chromatic Concept of Tonal Organization" by George Russell.
http://www.georgerussell.com/

This used to be "THE" book for alot of jazz players in the 50's & 60's...like Mile's & Coltrane etc. (BTW, I once read an article where Paul Franklin was quoted as saying that he was heavily influenced by it too!)

To make a long story short, Mr. Russell believes that the major scale as we know it, actually subdivides the 12 notes into "TWO" tonality's. But if you raise the 4th tone to a tritone (#4) instead....creating a lydian scale...... you get all the same chords that you would on a major scale plus a couple more....thereby making the lydian scale a more perfect and symetrical representative of "ALL" the 12 tones.

Sounds deep huh?.....it is!!!!! At any rate, I play Wabash Canonball alot better now that I know that........*L*

posted 26 October 1999 06:20 PM         

[This message was edited by Earl Erb on 10-26-99]

posted 26 October 1999 09:08 PM         

   C  A7#9   D13   G7#9   C13
1-----------------------|------
2-----------------------|------
3--12--12----11----10---|-9----
4-----------------------|------
5--12--12----11----10---|-9----
6--12-------------------|------
7------12(8--11(8--10(8-|-9(8--
8------------------------------
 
or E9
   C  A7#9  D13   G7#9    C13
3----------------------|--------
4--8-------------------|--------
5--8--11(A--10(A--9(A--|--8(A---
6--8--11----10----9----|--8-----
7----------------------|--------
8----------------------|--------
9-----11----10----9----|--8-----
10---------------------|--------

[This message was edited by John Steele on 10-26-99]

Thanks for the nice chart. I have a question. When I studied music many moons ago, I never heard the term "Cirle of 4ths". I was taught however like you say to go backwards (counerclockwise from C) when determining the number of flats in a Key signature. Or to go forward (clockwise from C) when counting the number of sharps.

Did I miss something? Is there in fact a Circle of 4ths, or is this a coined phrase just to make it simpler to understand?

Thanks,

posted 31 October 1999 03:25 PM         

I don't think of it as the circle of fourths or fifths as much as being the cycle of keys using fourths , or fifths , which is then drawn in the form of a circle . Cycle of fourths is easier to say though

For the relative minor of a key , move three spaces to the right . G , three to the right , Em . The proper name for some of the notes will depend on the key you are playing in .

Using that circle , the C and F# are opposite each other .

( Sorry for deleting the rest of post again . While the actual notes of the scales and chords were correct to play , and the formulas , the names of the notes in a lot of those keys were wrong , and totally confusing . )

[This message was edited by Ingo Mamczak about a 98 times ,on 10-31-99]

[This message was edited by Ingo Mamczak on 10-31-99]