Ricardo -> RE: Which scales? (Nov. 23 2019 10:02:27)
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quote:
Your posts are immensely long and detailed chronicles, like the eddas or upanishads and I don't read them. I just don't have the mental energy to invest in something that doesn't address what I'm saying. So, I don't recall anything about F7#11 being played instead of F(maj7#11) at beat 3 in Solea, for example. I'm quite ready to allow all chords to appear at various points but that is not one of them. I’ve addressed you directly and concisely several times regarding your points. Sorry if you refuse to read the more detailed ones that addressed your concerns, and that you missed the printed score examples of F7#11 “instead of” Fmaj7#11. They are there to look at but since you are so cool you have no time to read a damn thing I wrote and prefer to take time to make underhanded comments about goat herding flamencos, please have fun with your A harmonic minor G chords, I’m done with you. quote:
Ugh. First of all, there is no bII. This happens in academic discussions of flamenco all the time as in Hess's discussion of flamenco in her book about de Falla or Grout and Palisca's discussion of flamenco in their chapter on Bizet. Whichever scale-degree key you are in, the scale determines the roman numeral. You don't say biii in minor because it is implied in the scale-degree/key. That aside, II is not a substitute for anything. Flamenco shares common features with popular/folk because social groups are never completely isolated. No, that’s what I mean by “backwards”. I’m trying to show how one could justify such a thing as a flamenco phrygian tonal system in the first place, and you are already pretending that the thing exists and is commonly accepted by the academia of music theory land, and everyone on foro and trying to point out some error I’m making about a freaking b2. Worse, you pulled my statement out of the context of where I was pointing out your confusion about what “tritone sub” means. And let’s be clear, you are confused because you keep thinking that we are ALL talking about an already agreed upon established framework for “Spanish phrygian tonal system”, where tritone subbing just doesn’t happen. quote:
II acts like a dominant but is not. Even with the raise sixth it will never substitute for the dominant and vice-verse [in the basic system - not talking about advanced solo playing but the system itself]. . Well, as I keep saying, take it up with Tschaikovsky, cuz we both say you are dead wrong right there.... and worse, since you can’t admit we are correct, then you are left with a non functioning “spanish phrygian tonal system”, just like Boredo over here with his harmonic F minus, so you two can have fun doing whatever non functioning flamenco harmonies y’all think so cool and spanishy, and I’ll keep doing what I know is actually happening in the genre. 🙄
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