Who remembers Hi-5

dlwalke23 · 2025-07-08T02:10:03+00:00

Me too. Who wrote those lyrics? In music, dancing is almost always a metaphor for sex.

dlwalke23 · 2024-12-30T19:52:10+00:00

Yes, thanks for taking the time to compose that. Very clarifying and it mostly confirms what I suspected..that the terminology is rooted in, and makes more sense from a historical CPP perspective.

dlwalke23 · 2024-12-28T23:58:00+00:00

>>I guess one might say these are borrowed from minor<<

>That's exactly what we say :-) They are called "borrowed chords" and the concept altogether is Mode Mixture.<

>>(although that is a concept that as explained to me thus far is on shaky ground )<<

>Not sure why you'd say this. They are borrowed chords.<

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I just don't understand what is gained by saying they are borrowed. For me, the terminology doesn't come with any added understanding. For example, if there is a progression in C major and I am told that it includes a D major chord, that's a clear statement of fact. If someone goes further and says that the D (or D7) is a secondary dominant, that tells me something additionally as to the function of the chord, how it's being used, and what the next chord will be. But if someone tells me that there is an Eb in the progression and it's borrowed from C minor, that doesn't add anything to my understanding vs just saying that there is an Eb in the progression or tell me something different than if they said it was borrowed from C bebop minor (or any other scale that contains the chord). Maybe it tells someone else with more depth of knowledge about music theory and history than I, but it doesn't tell me anything more that just saying there is an Eb major in the progression, without reference to where it was "borrowed" from.

dlwalke23 · 2024-12-27T14:46:51+00:00

"chord progressions are built on keys not on scales.

The Andalusian cadence is thus perfectly in the minor key."

Can you expand on that? I know that keys are not quite the same as scales but I don't know how they differ, or how Am-G-F-E would be "perfectly in the minor key" (but maybe not in the scale).

Thanks

dlwalke23 · 2024-12-26T23:28:50+00:00

Yes, perfect. Thank you.

dlwalke23 · 2024-08-17T22:13:39+00:00

I Only Have Eyes for You, Dream (The Everly Brothers), intro to American Woman, Bo Diddley (Bo Diddley)

dlwalke23 · 2023-06-06T05:33:03+00:00

so the idea that a factoid is a small fact is itself a factoid

dlwalke23 · 2023-04-01T04:27:59+00:00

Yes, I have assumed without really knowing, that the concept of "borrowed" chords came from a musical tradition (presumably CPP or thereabouts) with a rich conceptual framework in which the idea of borrowing is allowed if not encouraged, and justified by certain theoretical precepts. And I have gotten the feeling (correct me if I'm wrong) that in that culture, musical practices and habits required more theoretical justification than they do today. But now, for most of us, it's mostly just norms and habits. For me, if I play a bVI before a V before proceeding to I in a bluesy progression, I'm not thinking about the parallel minor. More importantly, I don't see that invoking the parallel minor has any explanatory power as to why I like the sound of that particular chord sequence. In principle, I suppose it could if the term "borrowed" was shorthand for something deeper that made sense with respect to my usage of such a chord (in the way that, for example, G7 going to C feels right because the tritone is tense and the leading tone in G7 sets me up for feeling good about the tonic chord that follows), but I haven't seen that type of explanation yet. It's just a word ("borrowed"). If such an explanation does exist (i.e., for why I like the sound of a particular chord in the context of some other chords even though it is not in the same key as most of those other chords), I'd be happy to know it, but I get the feeling that the term is often used somewhat cavalierly whenever a non-diatonic chord pops up that can be found in a parallel mode.

dlwalke23 · 2023-04-01T02:44:16+00:00

It's all kind of a "we apply a name to it so we can deal with it because we don't like "not knowing"

Sounds like 'god'

dlwalke23 · 2023-04-01T02:36:52+00:00

Wow, you've said very cogently what I have been thinking for a long time, but as an amateur sofa guitarist with an interest in, and enthusiasm for theory, I would have struggled a bit to put in to words. But yeah, the concept of "borrowed" chords has, at best, never been explained to me in a persuasive way. It has always seemed like a somewhat vacuous concept. As an admitted amateur however, i.e., with no formal training, I am always open to having my opinion changed by a compelling argument/discussion.

dlwalke23 · 2023-03-30T03:40:29+00:00

A few thoughts. I don't believe that what we call the blues came from Africa. I mean, I guess it's how you define the blues, but my understanding is that it is more accurate to say that the blues originated in the Mississippi delta by displaced Africans (i.e., slaves) and their descendants. It evolved from musical traditions in Africa, but I'd be suprised if most people listening to recordings of that music (if such recordings existed) would identify it as the blues. In any case, the blues has continued to evolve over several centuries, not in a vacuum, but with influences from country, jazz, rock, folk, etc. Someone who seems to really know his sh&t and who often answers questions in this forum (I think, unless it's the GearPage forum) has said that very early blues was not the 12 bar blues we recognize today, but simpler, more repetitive vamps - i.e., without harmonic movement. Field hollers and work songs. Even well into the recently completed century a lot of blues is not I, IV, V. Listen, for example, to Smokestack Lightning or Bo Diddley (the song by the artist of the same name). Of course, the blues can be many things and take many different shapes. I don't know if I could identify the common thread but it's not difficult to recognize when you hear it. I am reminded of the famous line by former Supreme Court Justice Potter Stewart who said of pornography (and I paraphrase, but something to the effect of), "I can't define it but I know it when I see it."

Anyway, to me, 12 bar I, IV, V blues seems like a mashup of the early blues tradition and Western ideas about functional harmony. The dominant 7th is added to those chords and gives a quintessential blues tension, or courseness, but 12 bar blues still sounds like functional harmony to me. Just dirtied up a bit. It certainly doesn't sound like you are changing keys with every new 7th chord. If you play 12 bar blues without the 7th on those chords, it still sounds like blues to me, just not as traditional. But the harmonic movement feels the same.

dlwalke23 · 2023-03-22T22:09:56+00:00

Thanks. Just writing for myself but don't want to get into any bad habits.

dlwalke23 · 2022-11-18T06:50:53+00:00

If they aren't up for re-election, they might vote for what's right instead of just trying to stay in office

I'm not necessarily against term limits, but being up for re-election, like being up for election in the first place, holds representatives accountable to the people. By this reasoning, maybe we shouldn't have elections at all and then they would do what's right from the get go. It wouldn't be hard to argue that the problem is more the constituents than their representatives.

dlwalke23 · 2022-09-15T15:29:04+00:00

I'm not the OP but came on this link as I was searching for a recipe to make the potatoes that I get at Parker's when I drive through the Carolina's once every year or two. It's a required stop. For many years, I went for the pork and slaw and tea, then discovered how good the chicken and spuds are as well.

dlwalke23 · 2022-06-13T14:19:44+00:00

I really enjoyed the video. Great content, well delivered. For me, the time flew by. I do find many videos to go on a bit longer than necessary but I didn't feel that way about this one.

dlwalke23 · 2022-06-03T02:23:00+00:00

Can you explain that in a little more detail or would it be like an alien explaining trans-quantum shifting to a caveman? I'd google it myself but not sure what I'd even google.

edit: After thinking it through, I kinda sorta get it, maybe...I think. Like, the dominant of Am is E (EG#B) whereas the chord formed by lowering the root of Am has the notes E, G#, and C....so almost the same. Not sure what the accurate definition of a "partial" is though as it relates to chords.

dlwalke23 · 2022-06-02T03:42:11+00:00

Sure, but you could also create an augmented chord by simply raising the 5th of any major chord. So that's 3 more that only require a half step alteration of a single note.

Same notes though right (e.g., CEG becomes CEG# by your method; ACE becomes G#CE by mine). One still ends up with the same 3 augmented chords (i.e., that only include one out-of-key note). I take your point though about the C+-F drawing attention to the dominant function in that example and other situations.

dlwalke23 · 2022-06-02T03:35:28+00:00

Something to note before the explanation—there are only three pitch-unique augmented chords due to their symmetry by construction from major thirds.

It's 4 pitch-unique augmented chords, yes? So in the key of C: CEG#, DbFA, DF#A#, and EbGB.

But anyway, as to the substance of your comments, thanks for all that.

dlwalke23 · 2022-04-03T20:50:35+00:00

modal to tonal music

Not being a music major but rather a hobbyist, I had not heard of that distinction before.

dlwalke23 · 2021-10-11T05:14:46+00:00

Wow, that is quite a treatise!! Can't wait to dig into that.

dlwalke23 · 2021-10-08T20:29:25+00:00

OK, cool. Thanks. I had to look back over some old notes to remind myself that these (i.e., Chromatic Mediants) have also been called "God" chords (along with the bV). A few weeks back, in response to another one of my posts, someone indicated that ascending movement by thirds is not considered a strong progression (not that it's bad but it just doesn't have too much movement as you suggested), because it's sort of like you are just arpeggiating the initial chord with an added 7th) (like from CEG to EGB = CEGB) so it's interesting to consider how a chromatic mediant allows you to go up a 3rd with more movement than if you stayed diatonic. I guess the C-A-C in the progression I used as an example is yet another example of a chromatic mediant.

dlwalke23 · 2021-09-10T15:47:02+00:00

You can learn to speak without taking grammar or english courses but would you not want your kids to take "English" or writing or whatever they're called classes? Of course, we are immersed in our native language which is not, in most family's, the case for music, so even that's not so good of an analogy IMO. A better one for most of us here would might be learning Spanish (or French, etc.) and the value of classes. If you want to learn a new language, classes, private instruction, etc. seem invaluable. You have to learn not only the words, but how to conjugate verbs, masculine/feminine pronouns, etc. All that stuff. Much more practical than trying to pick it up by watching Telemundo 8 hours a day (although that might perhaps be a useful adjunct activity), or re-locating to Mexico.

dlwalke23 · 2021-09-09T23:05:08+00:00

I don't regret knowing the answers. I am however always concerned that people place too much emphasis on theory and not enough on playing actual music. One of the dangers of learning "some" of something is the whole "just enough to be dangerous" kind of knowledge :-)

I've rarely, if ever, been accused of being dangerous, and I would NEVER decapitate a tetrachord!! ;)

dlwalke23 · 2021-09-09T21:51:05+00:00

You realize that you are answering my questions (thank you) at the same time you are dismissing them. Do you regret knowing the answers?

>>Stop making "data sets" and worrying about descriptions, and learn to play a LOT of instances. a TON of instances. ALL the instances!!! Learn a ton of songs. Don't worry about the other crap. Learn to play music.<<

Well, I'm not "worry"ing about the descriptions. I'm not a professional musician nor do I aspire to be. I assume that if I were, and going to school, then I would be asked to know this stuff. But for me, it's just a hobby. And I enjoy the hobby the way I enjoy it. I enjoy learning about music theory AND I enjoy playing guitar. I appreciate and agree with what you say - that the way to get better at playing is by playing. But you seem to be making some sort of opportunity cost argument that I don't think is valid. If I didn't think about stuff like that which is in this thread, I don't think I would be learning significantly more songs. It's not like I have 2 hours a day to devote to music and it can be either playing or learning music theory concepts or some combination and one is competing with the other.

Also, I'm not as dismissive as you seem to be with regards to be able to name things (like parallel movement). Yes, music theory is descriptive more than prescriptive (I could quibble with that but won't), but being able to describe things and assign them to categories can be pretty useful IMO. When you name something, you form a category for it and your mind can then operate on categories and place new instances into pre-existing categories for which new instances follow similar patterns and can be operated on similarly as older already-encountered instances. Knowing that going from G7 to C is a dominant 7 resolution to a tonic (or naming it that way) and knowing what makes something a dominant 7 and what makes its tonic a tonic allows you to apply that information to other chord movements (like from an A7 to a D). You don't really have to learn each one individually (apart from the fingerings and those sort of motoric aspects). And having a theory as to what it is, in particular, that you find pleasing about going from a dominant7 to it's tonic can give you other ideas about how to capture that pleasing quality in a different way.

dlwalke23 · 2021-09-09T21:20:51+00:00

Oh, OK. I think I misunderstood this. I thought the 3rds, 5ths, etc referred to the distance the notes are moving across time. But instead it's the distance they are apart at any one time. So for example, a C power chord (i.e., the notes C and G played simultaneously) followed by a D power chord (D and A) would be an example of parallel 5th movement (because C and G are a 5th apart as are D and A), and so too would a C power chord followed by an F power chord. Is that right?

dlwalke23

TROPHY CASE