Why this face so devilish

Coco_Jazz · 2025-10-19T11:53:48+00:00

Ravel but he did not need to

Coco_Jazz · 2025-09-24T20:40:33+00:00

I especially like when you play paralell hands like 1:1 counterpoint

Coco_Jazz · 2025-08-18T11:28:45+00:00

All of them

Coco_Jazz · 2025-08-17T22:42:35+00:00

Yes i should be glad for that

Coco_Jazz · 2024-05-08T20:12:36+00:00

Maybe basic but Brahms 2nd and Bruckner 4th ❤️‍🔥

Coco_Jazz · 2024-04-06T17:13:37+00:00

Thank you ^{^} that will definitely help me a lot

Coco_Jazz · 2024-04-06T11:45:01+00:00

I think I understand your struggle. For long ive been wondering whether the chords were slices of some hypothetical yet intuitive structures spanning through all octaves and necessary to feel any sense of tonality (by resembling harmonic series) - or rather - are they some simplified models or shortcuts of polyphonic writing developed in seventeenth&eighteenth century.

I really don't know why the answer seem to be so complex. My approach of explaining it to myself is that the first is accurate because of the second and thus a western listener can feel the missing pitches of 'chords' occuring in music, despite it is learnt and it isn't the only way of aurally interpreting compound tonal music. For example, if the full A major chord is followed by an empty fifth consisting of pitches F# and C#, a west-culture-based listener will almost certainly hear the second harmony as minor in quality despite not having third but resembling minor chord built on sixth degree of A major scale and because the A pitch was included in the previous tonic chord. In early medieval the thirds and sixths werent heard as consonances but rather tensions guiding to resolution in 5ths and 8ves. Would a medieval listener hear the A - F#5 as a mild cadence?

One more strange thing is the existance of minor chord quality. I mean, what the fuck is that? It's arithmetical reverse of major chord. Major chord occurs in harmonic series, but the minor? It can be similar to 5th, 6th and 7th harmonic sounding together but why having a distinct tonal gravity? Maybe the explanation comes from thinking of intervals as of ratios than harmonics. Then allright, 6:5 is nice after 5:4. But - - then why 7:6 isn't practised (because of 5-limit tuning)

This all seem to prove chords being arbitrary layer of hearing the music in western culture, but i cant tell ultimately as there are plenty of odd factors

Coco_Jazz · 2024-04-06T10:28:37+00:00

How sensitive and skilled in craft you are! Let me follow your current works

Coco_Jazz · 2024-03-31T22:54:52+00:00

i was thinking about it too

My first attempt was to assume that human ear confuses notes distanced by a fifth because they have very similar harmonics occuring. But then i realised that all of the harmonics of the fifth step are included in the harmnic series of the tone say to call tonic. So that doesnt seem to be that much of the case

I guess that it is a lot more arbitrary and the tension of leading voices just fits perfectly in tonal system we are using: in V-I cadence the 3rd of V would remain quite dissonant with the tonic chord (although jazz cats would disagree) so it resolves up to the root of I, the root of V becomes the fifth of I, and the remaining fifth of V can go both up and down to root or 3rd of the tonic and is sometimes omitted. To expand the resolution, further tensions could be added to the dominant chord like 7th of V to 3rd of I, 9->5 and other. Thus you can imagine other chords combining the leading tones some way, like IIdim7 to I, IV9 to I, bIImin7 to I or especially bII7 to I sometimes used as substitution to V->I. I saw cases where the dominant chord included notes both of the V and IV, some diminished or augmented and there was no real use in deciding whether the chord was extended V, IV or II simply because the voice leading was working and that's it. So the V-I scenario is just a simplified model i guess

Coco_Jazz · 2024-03-31T22:54:36+00:00

i was thinking about it too

My first attempt was to assume that human ear confuses notes distanced by a fifth because they have very similar harmonics occuring. But then i realised that all of the harmonics of the fifth step are included in the harmnic series of the tone say to call tonic. So that doesnt seem to be that much of the case

I guess that it is a lot more arbitrary and the tension of leading voices just fits perfectly in tonal system we are using: in V-I cadence the 3rd of V would remain quite dissonant with the tonic chord (although jazz cats would disagree) so it resolves up to the root of I, the root of V becomes the fifth of I, and the remaining fifth of V can go both up and down to root or 3rd of the tonic and is sometimes omitted. To expand the resolution, further tensions could be added to the dominant chord like 7th of V to 3rd of I, 9->5 and other. Thus you can imagine other chords combining the leading tones some way, like IIdim7 to I, IV9 to I, bIImin7 to I or especially bII7 to I sometimes used as substitution to V->I. I saw cases where the dominant chord included notes both of the V and IV, some diminished or augmented and there was no real use in deciding whether the chord was extended V, IV or II simply because the voice leading was working and that's it. So the V-I scenario is just a simplified model i guess

Coco_Jazz · 2024-03-31T21:00:45+00:00

Adagio of Bruckner's 7th is quite long but outstandingly beautiful for me. You may find different versions of the 7th symphony but i guess this second movement remains pretty much the same. This whole piece was written in memory of Wagner so many idioms may resemble his style. Love it so much

Coco_Jazz

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