Aha Moment a Dummy: 3rd/b7th inversions....

Charlie McDonald · Post by **Charlie McDonald** » 3 Nov 2005 4:43 am

Ah....

But funny, about terminology: a minor sixth is, to me, an interval--a single block in chord building; two notes that describe a span.
A Cm6, however, is a chord, implying what notes are inside that span.
I think it's all where you started out.[This message was edited by Charlie McDonald on 03 November 2005 at 04:53 AM.]

Eric West · Post by **Eric West** » 3 Nov 2005 9:28 am

Well Charles, I started out saying that the interval was the functional 3rd and Dom7 of two chords at the same time, roots and fifths omitted, inverting every 6th fret. That was the usage that intrigued me.

Regardless of the interval, (and not merely calling the lowest note of the chord the 'root') it is always what the chord functions as or context of usage that determines its' name, or individual notes' characterizations even in fragmented substitutions, which allows identification of it's place in relation to the root of the chord it is functioning as a substitution for. Even when the root is omitted.

There...

Now on to some serious time on my new 75$ GC half price Squire Strat..

EJL[This message was edited by Eric West on 03 November 2005 at 02:23 PM.]

Bruce Clarke · Post by **Bruce Clarke** » 3 Nov 2005 11:48 am

If there is a forumite who is not absolutely 100% sure what Eric was writing about in his original post and would like to know, try the following.
At fret 8 on your steel, play the note E, and note Bb above it, and have your friendly bass player sinultaneously play the note C in the bass. Together you have played the essential notes of the chord usually referred to as C7.
Go down one fret at a time to fret 3, playing the same interval at each fret. The bass plays C F Bb Eb Ab Db. Return to fret 8 and repeat the sequence, the bass notes this time being Gb B E A D G. You have played the entire cycle of fifths. Sounds nice.
You can begin at any fret of course, provided the bass notes are adjusted accordingly. Other permutations should suggest themselves, I want to keep this post short.

Charlie McDonald · Post by **Charlie McDonald** » 3 Nov 2005 7:59 pm

I am humbled and sheepish.
But thanks to Bruce I now see the meaning of it, and it is interesting indeed.

Eric West · Post by **Eric West** » 3 Nov 2005 9:03 pm

It was one of those moments.. like when all of a sudden, you see a perfect twelve point mandella crystalize in front of you, in your Mind's Eye™ knowing that at long last "It" all makes perfect sense...

Then you realise that it was just another halucination from all the drugs your friends made you take thirty years ago....

Anyhow, back to my amazing 75$ strat.

The Last two Paisley albums have kept me "quacking" for a month.

Great Steel Playing on both of them BTW..

My hat's off to Mr Currie on "Make a Mistake With Me".

Thanks all.

EJL

Charlie McDonald · Post by **Charlie McDonald** » 4 Nov 2005 3:47 am

Nonetheless, I had to read the second paragraph of your second post several times before finally not making any--well, making some sense out of it. But clearly, your epiphany was an existential moment.

it is always what the chord functions as or context of usage that determines its' name, or individual notes' characterizations even in fragmented substitutions, which allows identification of it's place in relation to the root of the chord it is functioning as a substitution for. Even when the root is omitted.

Whew! You da man!

Reminds me of the three umpires: the idealist umpire says 'There are balls and there are strikes, and I call them as I see them.' The realist umpire says 'There are balls and there are strikes, and I call them as there are.
There existentialist umpire says 'There are balls and there are strikes, but they're neither until I call them.'

Eric West · Post by **Eric West** » 4 Nov 2005 5:53 am

Well I have to apoligize for my own seeming confusion sometimes, and I constantly admit that I don't read a lot of my own posts..

I think one of the gems of the forum and the myriad "tunin' wars" was Mr Quasar's reference to notes being "in tune" with "notes that no longer exist".

That's where the veil was pierced as far as I am concerned..

EJL

Charlie McDonald · Post by **Charlie McDonald** » 4 Nov 2005 6:30 am

"notes that no longer exist"

I thought about that one way too long.
Had me wondering about how Edwin Hubble discovered the residual noise of the Big Bang. And what key it was in.

Bobby Lee · Post by **Bobby Lee** » 4 Nov 2005 2:15 pm

"I'm sure I'm being quoted out of context at this point." - Mr. Quasar