KVR Audio

k-bird · Post by **k-bird** » Tue Aug 28, 2012 9:47 am

manducator wrote:Can we help you out with some typo's?

Absolutely.

There's no such thing as a #13 so i'll have to see what i was on when i wrote that bit.

Sadly i'm flat out this week working on other stuff so i'll get to this first thing on the weekend.

Allomerus · Post by **Allomerus** » Thu Aug 30, 2012 12:05 pm

This is great. Thanks for putting it up. Enjoying reading it on iPad using good reader or iBooks.

manducator · Post by **manducator** » Sat Sep 01, 2012 9:04 am

On page 31 there's something wrong with the layout: 1 picture is out of place and a chord title isn't in the right place.

This is a great read, btw, just trying to help you out.

k-bird · Post by **k-bird** » Sat Sep 01, 2012 10:29 am

manducator wrote:On page 31 there's something wrong with the layout: 1 picture is out of place and a chord title isn't in the right place.

Yep caught that one myself.

I don't have an editor so all editorial help is appreciated.

Right now i'm going through the Guide doing a rewrite, cutting down some of the repetition and finessing the text, updating bits based on what i've found out since i wrote it last, throwing anything tabular into tables so eBook formatting is kinder to it.. lots of grind but it'll be worth it.

Also the chapter order is now Intro - Intervals - Scales - Key - Chords instead of Intro - Scales - Key - Intervals - Chords; i think it works a bit better.

tico-tico · Post by **tico-tico** » Sat Sep 01, 2012 12:41 pm

Thank you k-bird.
Your language kinda hard for the average russian person (me

), but the guide is great anyway.

k-bird · Post by **k-bird** » Sun Sep 02, 2012 1:41 pm

tico-tico wrote:Thank you k-bird.
Your language kinda hard for the average russian person (me ), but the guide is great anyway.

Thanks! It is very colourfully written, but i hope it's worth the effort.

manducator · Post by **manducator** » Tue Sep 04, 2012 7:16 am

Hello k-bird, here are some little typo's I found:

- On page 41, in the chapter 'Y-nvert?' You write this:

Go from C to C/F (C F A)...
It should be: Go from C to F/C (C F A)

- On page 44, in ths scheme on top of the page you mention the chord G as bV7 but that should be bVII7 according to me. After all, we're talking about the A minor scale.

- On page 44, on the second line in first paragraph you have 'the the'. One of those can be deleted.

- On the 'Chords and modes' chapter on page 44, the last chord in the Mixolydian mode should be VIIma7, not VIma7.

That's it for now. Thanks for this great guide, I'm learning a lot from it.

k-bird · Post by **k-bird** » Tue Sep 04, 2012 12:39 pm

manducator wrote:Hello k-bird, here are some little typo's I found

Excellent! Found and amended. New version is maybe a week off depending on how much after-work time i get to plough through the task of typesetting it.

I'll give you a link in the Acknowledgements section as of the next edition and mention your Bandcamp pages too. That's an open offer for anyone who spots any mistakes in the manuscript.

manducator · Post by **manducator** » Tue Sep 04, 2012 5:38 pm

k-bird wrote:I'll give you a link in the Acknowledgements section as of the next edition and mention your Bandcamp pages too.

I am not worthy.

Thanks!!

jancivil · Post by **jancivil** » Tue Sep 04, 2012 10:06 pm

k-bird wrote: There's no such thing as a #13

C to A# is an augmented sixth, which is the actual basis for the harmony of that name, so if you place the '#6' an octave higher it is in fact a #13, augmented 13th.

it isn't typical, if seen at all, in jazz extensions but to say there is no such thing is not correct.

k-bird · Post by **k-bird** » Thu Sep 06, 2012 11:30 am

jancivil wrote:
k-bird wrote: There's no such thing as a #13
C to A# is an augmented sixth, which is the actual basis for the harmony of that name, so if you place the '#6' an octave higher it is in fact a #13, augmented 13th.

it isn't typical, if seen at all, in jazz extensions but to say there is no such thing is not correct.

Well, alright - you can talk about them but for all practical intents, interval designations like #13 and b11 shouldn't be encouraged. b11 is enharmonic with 3 + octave, so that's just being silly. #13 is enharmonic with b7 plus an octave - again, not useful for the level of theory i'm trying to teach.

So while you're technically right about #13 existing, to talk about diminished thirds, augmented sixths, sharp thirteenths, flat elevenths, etc, just makes a muddle of things for people starting out, and as such they're not welcome in my guide. They can wait outside.

Ogg Vorbis · Post by **Ogg Vorbis** » Thu Sep 06, 2012 12:37 pm

k-bird wrote:
Well, alright - you can talk about them but for all practical intents, interval designations like #13 and b11 shouldn't be encouraged. b11 is enharmonic with 3 + octave, so that's just being silly. #13 is enharmonic with b7 plus an octave - again, not useful for the level of theory i'm trying to teach.

So while you're technically right about #13 existing, to talk about diminished thirds, augmented sixths, sharp thirteenths, flat elevenths, etc, just makes a muddle of things for people starting out, and as such they're not welcome in my guide. They can wait outside.

What if you have a major 7th harmony based on Bb and you want that G# in there? Then #13 is the way to go (as opposed to have both an A and an Ab which makes less sense tonally).

Or in the second case, what if you have a Cm chord and you want the Fb in there? Then you'll designate b11.

I don't see the default enharmonic status that you are ascribing. You seem to be making some assumptions.

k-bird · Post by **k-bird** » Thu Sep 06, 2012 2:30 pm

Ogg Vorbis wrote:What if you have a major 7th harmony based on Bb and you want that G# in there? Then #13 is the way to go (as opposed to have both an A and an Ab which makes less sense tonally).

Or in the second case, what if you have a Cm chord and you want the Fb in there? Then you'll designate b11.

I don't see the default enharmonic status that you are ascribing. You seem to be making some assumptions.

OK. Let's put it this way: every tracker user knows the C minor scale goes C D D# F G G# A# C. If you don't understand that, you don't understand my intended audience.

manducator · Post by **manducator** » Thu Sep 06, 2012 4:07 pm

I have some more typo's to fix, k-bird:

1. On page 52 under the example of direct modulation you write: 'Examples of such chords are F#mi, A, Bmi and Cdim. (C and D major share the chords Emi and G.)'

Shouldn't that be C#dim since we are talking about D major?

2.On the bottom of page 52, in the second last sentence, substitution is written wrong.

3. On page 54, 4th paragraph, you write: 'If you're in D minor, it's Dmi (Dmi). I guess you want to 'spell' the chord between the brackets (D F A).

I have to admit that it's difficlut for me to get my head around the modluation possibilities but I'm learning much of this tutorial!

JumpingJackFlash · Post by **JumpingJackFlash** » Thu Sep 06, 2012 10:19 pm

k-bird wrote:every tracker user knows the C minor scale goes C D D# F G G# A# C. If you don't understand that, you don't understand my intended audience.

Well, maybe I don't understand your target audience, but this is a very dubious statement to give to a beginner. Technically of course it is wrong; C minor has an Eb in it, not a D#. I trust you will give this the necessary and suitable explanation?

The guide formerly known as Ravenspiral Guide