It's ok if you wanna laugh: Audio Clip

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

BlackCatBone wrote:

nothing to laugh about here, this is some really solid playing. if i was to ever post a clip of my laying, then THAT would be something to laugh about! Keep up the good work!

Thank you BlackCatBone. I do appreciate the encouragement.

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

playalot86 wrote:

Twinhit wrote:

playalot86 wrote:

I really enjoyed your recording. It had many good ideas in it. I did like a lot when you would play your enharmonic tones between chords in a fixed beat. Some good ideas present, good job.

Thank you playalot86, I am glad that you enjoyed my recording.

I am sorry but I am afraid I don't understand what you mean by "enharmonic tones between chords in a fixed beat." Could this be something I am doing that would lead someone to think I am playing two guitars at once? I am not a formal student of music so I don't know a whole lot in the way of proper language and brevity as an educated musician would. It would be fair to say that I am very base.
I hear things in my head and try to match it up on fret/string. Sometimes I just play like you hear the recording. I know for sure I need to work on keeping better time and polish up my finger control among a lot of other things.

I have no idea what genre that style of playing in the recording would fit in. I wish I knew, though.

btw, I like Andres Segovia, too. He was absolutely brilliant with his hands.
And those were good words of advice of his that you quoted.

Enharmonic tones, in a nutshell, are the tones in between not only chords, but also other notes it is kind of hard to explain. Say I play a D Chord Form and it is a D Chord. I strum that for a little bit then I break away from the form and play some eighth notes in between and then go to an A Chord Form and it is an A Chord. Basically the transitions from the two chords are the Enharmonic Tones. Think of them as fill in between transitions from notes, and chords.

I know that is quite a lot to get one's head around, but if one were to think about it. Enharmonic Tones are kind of like the glue between one's chords and single notes. This could lead some people who have never worked with Enharmonic Tones to believe that two guitars are indeed being played when in fact one's smooth transitions from chord to chord, or from note to note are doing the talking.

Playalot, that's definitely quite a description. I've been reading some sites on the web on the subject and believe you me, it don't look like it's easy to explain. Especially when they are repeating the point that flats and sharps can have the same tone but be written differently. In this discussion, the very word "Enharmonic" followed by the description sure has left me stumped but something you said gave me pause and now, as I am thinking about it, I ask, does "Enharmonic Tone" and it's essential nature/existance and/or quality strictly dependant on the "smooth transitions" from chord to chord and note to note, as you mention.
Ie, as it were put another way, "in order for enharmonic tones to exist, the chords and notes must see a smooth transition, otherwise, the enharmonic tones cannot materialize."
Have I got that right?

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

playalot86 wrote:

Also as a side note: Everyone works with Enharmonic Tones. It is not a conscious effort it is all natural. Everyone uses Theory when they play their guitar. They just don't know it because it is natural.

It almost sound like this side note answers my prior followup clarification question.

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

I think I responded to everyone.

playalot86 · **Posted:** Sun Nov 07, 2010 2:15 pm

Twinhit wrote:

playalot86 wrote:

Twinhit wrote:

playalot86 wrote:

I really enjoyed your recording. It had many good ideas in it. I did like a lot when you would play your enharmonic tones between chords in a fixed beat. Some good ideas present, good job.

Thank you playalot86, I am glad that you enjoyed my recording.

I am sorry but I am afraid I don't understand what you mean by "enharmonic tones between chords in a fixed beat." Could this be something I am doing that would lead someone to think I am playing two guitars at once? I am not a formal student of music so I don't know a whole lot in the way of proper language and brevity as an educated musician would. It would be fair to say that I am very base.
I hear things in my head and try to match it up on fret/string. Sometimes I just play like you hear the recording. I know for sure I need to work on keeping better time and polish up my finger control among a lot of other things.

I have no idea what genre that style of playing in the recording would fit in. I wish I knew, though.

btw, I like Andres Segovia, too. He was absolutely brilliant with his hands.
And those were good words of advice of his that you quoted.

Enharmonic tones, in a nutshell, are the tones in between not only chords, but also other notes it is kind of hard to explain. Say I play a D Chord Form and it is a D Chord. I strum that for a little bit then I break away from the form and play some eighth notes in between and then go to an A Chord Form and it is an A Chord. Basically the transitions from the two chords are the Enharmonic Tones. Think of them as fill in between transitions from notes, and chords.

I know that is quite a lot to get one's head around, but if one were to think about it. Enharmonic Tones are kind of like the glue between one's chords and single notes. This could lead some people who have never worked with Enharmonic Tones to believe that two guitars are indeed being played when in fact one's smooth transitions from chord to chord, or from note to note are doing the talking.

Playalot, that's definitely quite a description. I've been reading some sites on the web on the subject and believe you me, it don't look like it's easy to explain. Especially when they are repeating the point that flats and sharps can have the same tone but be written differently. In this discussion, the very word "Enharmonic" followed by the description sure has left me stumped but something you said gave me pause and now, as I am thinking about it, I ask, does "Enharmonic Tone" and it's essential nature/existance and/or quality strictly dependant on the "smooth transitions" from chord to chord and note to note, as you mention.
Ie, as it were put another way, "in order for enharmonic tones to exist, the chords and notes must see a smooth transition, otherwise, the enharmonic tones cannot materialize."
Have I got that right?

Any transition at all will do.

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

playalot86 wrote:

Twinhit wrote:

playalot86 wrote:

Twinhit wrote:

playalot86 wrote:

I really enjoyed your recording. It had many good ideas in it. I did like a lot when you would play your enharmonic tones between chords in a fixed beat. Some good ideas present, good job.

Thank you playalot86, I am glad that you enjoyed my recording.

I am sorry but I am afraid I don't understand what you mean by "enharmonic tones between chords in a fixed beat." Could this be something I am doing that would lead someone to think I am playing two guitars at once? I am not a formal student of music so I don't know a whole lot in the way of proper language and brevity as an educated musician would. It would be fair to say that I am very base.
I hear things in my head and try to match it up on fret/string. Sometimes I just play like you hear the recording. I know for sure I need to work on keeping better time and polish up my finger control among a lot of other things.

I have no idea what genre that style of playing in the recording would fit in. I wish I knew, though.

btw, I like Andres Segovia, too. He was absolutely brilliant with his hands.
And those were good words of advice of his that you quoted.

Enharmonic tones, in a nutshell, are the tones in between not only chords, but also other notes it is kind of hard to explain. Say I play a D Chord Form and it is a D Chord. I strum that for a little bit then I break away from the form and play some eighth notes in between and then go to an A Chord Form and it is an A Chord. Basically the transitions from the two chords are the Enharmonic Tones. Think of them as fill in between transitions from notes, and chords.

I know that is quite a lot to get one's head around, but if one were to think about it. Enharmonic Tones are kind of like the glue between one's chords and single notes. This could lead some people who have never worked with Enharmonic Tones to believe that two guitars are indeed being played when in fact one's smooth transitions from chord to chord, or from note to note are doing the talking.

Playalot, that's definitely quite a description. I've been reading some sites on the web on the subject and believe you me, it don't look like it's easy to explain. Especially when they are repeating the point that flats and sharps can have the same tone but be written differently. In this discussion, the very word "Enharmonic" followed by the description sure has left me stumped but something you said gave me pause and now, as I am thinking about it, I ask, does "Enharmonic Tone" and it's essential nature/existance and/or quality strictly dependant on the "smooth transitions" from chord to chord and note to note, as you mention.
Ie, as it were put another way, "in order for enharmonic tones to exist, the chords and notes must see a smooth transition, otherwise, the enharmonic tones cannot materialize."
Have I got that right?

Any transition at all will do.

Ok, any transition at all will do. per chance, would the transition period when enharmonics are being observed have to do with an "overlaying" of the tones in the middle of the transition?
I really do appreciate your taking time out to answer.

playalot86 · **Posted:** Sun Nov 07, 2010 4:26 pm

Overlaying to me sounds like you would want to make a chord without actually playing all of the notes. Even those over-layered Transitions could be Enharmonic Tones.

Let me give you a short shakedown.

From my memory these are the Enharmonic Tones.

Legend: . = Notes on the line `= notes on the line above given notes. O= whole note for demonstration.

Passing Tone: PT

An example being: C-B-C

_________________________________________
_________________________________________
_______O________._______________________
__________________________O_______________
_________________________________________

So here is a Passing Tone we have our starting pitch which is C and our Passing Tone which is B (.) C (step) B (step) A. This can go the other way as well from A (step) B (step) C. One is literally " passing through" the other pitches.

Next is the Neighboring Tone: NT

___________________________________________
___________________________________________
_________O___________.__________O__________
___________________________________________
___________________________________________

Here is a Neighboring Tone. We are traveling with our starting pitch C (step) B (step) C You are just "visiting" your neighbor. Lol. You just return to your original starting pitch. One can go the other way as well from C (step) D (step) C.

Next is the Escape Tone: ET haha.

________________________________________________
________________________________________________
_________O____________`_________._______________
________________________________________________
________________________________________________

In this Enharmonic Tone we are simply making a C (step) D (skip) B
Now if your wondering what a skip is, it is simply skipping a line going from D to B. In this instance we are skipping a"Space".

Next is the Appoggiatura (Ah- pazsha- tour- ah)
:APP

__________________________________________________
__________________________________________________
_____________._________________`_______O__________
__________________________________________________
__________________________________________________

As you can see here we are going from our starting tone B and slipping up one space and landing on D. Then we step down to a C.

B (skip) D (step) C Remember the phrase "it's just a skip and a step away!"

These next three are my favorites. They are the most easy to identify when listening to music. They are the:

Suspension: SUS

_______________________________________________
_______________________________________________
_______________O_________O_______._____________
_______________________________________________
_______________________________________________

As we can see here in the illustration we have our starting pitch C which is held to the next pitch C and then steps down to a B. The Suspension holds then resolves. C (common tone) C (step) B. The Suspension resolves downward by a step.

The Retardation: RE

_______________________________________________
_______________________________________________
_______.____________.______________O____________
_______________________________________________
_______________________________________________

The Retardation is exactly opposite from the Suspension in the fact that the Retardation resolves upward by a step. Here we go from our starting pitch B and it holds again to another B tone and then resolves upward to a C.
B (common tone) B (step) C.

Finally we have the last Enharmonic Tone; the Anticipation: ANT lol.

__________________________________________________
__________________________________________________
____________`______________O_________O____________
__________________________________________________
__________________________________________________

We can see here that we have our starting pitch D, and the pitch drops by a step to C and is held again on C. This is Anticipation: D (step) C (common tone) C. This can work another way as well, B (step) C (common tone) C.

All right so that was my crash course lesson on Enharmonic Tones. I know it will be useful to you. I advise to copy and paste this as a word document and save it. As an updated Legend: `= D . = B O= C also A.

Best of luck if you have any questions leave me a Personal Message or just use this forum to contact me. Good luck!

Safety and Peace,

playalot86

(P.S. Practice hard and play loud.)

Twinhit · **Joined:** Fri Jun 11, 2010 12:33 am **Posts:** 650

playalot86 wrote:

Overlaying to me sounds like you would want to make a chord without actually playing all of the notes. Even those over-layered Transitions could be Enharmonic Tones.

Let me give you a short shakedown.

From my memory these are the Enharmonic Tones.

Legend: . = Notes on the line `= notes on the line above given notes. O= whole note for demonstration.

Passing Tone: PT

An example being: C-B-C

_________________________________________
_________________________________________
_______O________._______________________
__________________________O_______________
_________________________________________

So here is a Passing Tone we have our starting pitch which is C and our Passing Tone which is B (.) C (step) B (step) A. This can go the other way as well from A (step) B (step) C. One is literally " passing through" the other pitches.

Next is the Neighboring Tone: NT

___________________________________________
___________________________________________
_________O___________.__________O__________
___________________________________________
___________________________________________

Here is a Neighboring Tone. We are traveling with our starting pitch C (step) B (step) C You are just "visiting" your neighbor. Lol. You just return to your original starting pitch. One can go the other way as well from C (step) D (step) C.

Next is the Escape Tone: ET haha.

________________________________________________
________________________________________________
_________O____________`_________._______________
________________________________________________
________________________________________________

In this Enharmonic Tone we are simply making a C (step) D (skip) B
Now if your wondering what a skip is, it is simply skipping a line going from D to B. In this instance we are skipping a"Space".

Next is the Appoggiatura (Ah- pazsha- tour- ah)
:APP

__________________________________________________
__________________________________________________
_____________._________________`_______O__________
__________________________________________________
__________________________________________________

As you can see here we are going from our starting tone B and slipping up one space and landing on D. Then we step down to a C.

B (skip) D (step) C Remember the phrase "it's just a skip and a step away!"

These next three are my favorites. They are the most easy to identify when listening to music. They are the:

Suspension: SUS

_______________________________________________
_______________________________________________
_______________O_________O_______._____________
_______________________________________________
_______________________________________________

As we can see here in the illustration we have our starting pitch C which is held to the next pitch C and then steps down to a B. The Suspension holds then resolves. C (common tone) C (step) B. The Suspension resolves downward by a step.

The Retardation: RE

_______________________________________________
_______________________________________________
_______.____________.______________O____________
_______________________________________________
_______________________________________________

The Retardation is exactly opposite from the Suspension in the fact that the Retardation resolves upward by a step. Here we go from our starting pitch B and it holds again to another B tone and then resolves upward to a C.
B (common tone) B (step) C.

Finally we have the last Enharmonic Tone; the Anticipation: ANT lol.

__________________________________________________
__________________________________________________
____________`______________O_________O____________
__________________________________________________
__________________________________________________

We can see here that we have our starting pitch D, and the pitch drops by a step to C and is held again on C. This is Anticipation: D (step) C (common tone) C. This can work another way as well, B (step) C (common tone) C.

All right so that was my crash course lesson on Enharmonic Tones. I know it will be useful to you. I advise to copy and paste this as a word document and save it. As an updated Legend: `= D . = B O= C also A.

Best of luck if you have any questions leave me a Personal Message or just use this forum to contact me. Good luck!

Safety and Peace,

playalot86

(P.S. Practice hard and play loud.)

That's definitely going to take some time to sort out. Again, thank you for taking the time to try and explain it.

playalot86 · **Posted:** Mon Nov 08, 2010 12:41 pm

No problem I do enjoy music discussions. I hope those diagrams helped. They are kind of tricky to create with type.

	Page 2 of 2	[ 24 posts ]	Go to page Previous 1, 2
Go to page Previous 1, 2

	Page 2 of 2	[ 24 posts ]	Go to page Previous 1, 2
Go to page Previous 1, 2

Andorra	EN	ES	FR
Belgium	EN	DE	FR
Croatia	EN
Czech Republic	EN
Estonia	EN
France	EN	FR
Germany	EN	DE
Italy	EN	IT
Latvia	EN
Lithuania	EN
Malta	EN
Netherlands	EN
Poland	EN
Romania	EN
Slovakia	EN
Sweden	EN
United Kingdom	EN

Austria	EN	DE
Bulgaria	EN
Cyprus	EN
Denmark	EN
Finland	EN
Greece	EN
Hungary	EN
Ireland	EN
Liechtenstein	EN	DE
Luxembourg	EN	DE	FR
Monaco	EN	FR
Norway	EN
Portugal	EN
Slovenia	EN
Spain	EN	ES
Switzerland	EN	DE	FR	IT

Mod Shop

Custom Shop

It's ok if you wanna laugh: Audio Clip

Who is online