The Universal Encyclopedia of Scales
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- KVRer
- Topic Starter
- 8 posts since 18 May, 2010
For music theory lovers, here's a Journey Through the Universe of Scales in 3 minutes.
Enjoy!!
https://www.youtube.com/watch?v=fzee0jwMqpw
Enjoy!!
https://www.youtube.com/watch?v=fzee0jwMqpw
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- addled muppet weed
- 106085 posts since 26 Jan, 2003 from through the looking glass
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
So what is the actual reasoning for this limit of 2048?
[...]
snark aside, you’ll have set such limits as within one octave and that octave strictly has 12 tones.
The Universe doesn’t obey that. Planet Earth neither. Shit, Missouri doesn’t. https://youtu.be/INbLCaYxQBM
[...]
snark aside, you’ll have set such limits as within one octave and that octave strictly has 12 tones.
The Universe doesn’t obey that. Planet Earth neither. Shit, Missouri doesn’t. https://youtu.be/INbLCaYxQBM
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- addled muppet weed
- 106085 posts since 26 Jan, 2003 from through the looking glass
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I never did
Since all the OP’s posts are from commercial, while pretending to be a topic once or twice, I can make it a music_theory_topic.
The names appear to be drawn arbitrarily, a big hodgepodge...
The video is information flashing by but fast, in order to get the umpteen volumes up in three minutes... Ok then.
one thing caught my eye, actually two, both using the name “Marva” but w. such as “omit 3”. One is given as ‘fourth mode of’, additionally.
Marva or Marwa is in fact one, single thaat. “Omit 3” and it is not that thing. Do “mode of”, it is not that thing. Then we find that the <source> for the thing is supposedly some blues phrygian hexachord. This is bullshit.
I have found two comparative authorities to place the raga or raag:
1) Pratap Singh “writing in the late 18th century” states that it’s the same as “the ancient Malawa” (one supposes the parent of the family of ragas is indicated), while suggesting the contour of Raga Marwa is similar.
2) Jairazbhoy, a modern writer says it may be the same.
Anyway, no raga is sourced in some ad culum internet bullshit name. I can’t know from here what ‘the ancient raga’ is, but the name Malawa is taken from a tribe in antiquity (Before the Common era), and I tend to doubt an Indian writer uses the term all that lightly.
Show some respect. For the music and for a forum.
This is to be expected when one is strictly from commercial. The mathematical approach and some quickie names from no clue.
The hype boasts “In depth”...
Marva caught my eye because I know it. The raga (as well as two other children) omits “Panchama”, the Perfect fifth which is a fundament of ICM. In addition, the sixth acts more or less as its tonic, and the drone is usually at that degree. The way it was shown to me, think of it as a major pentatonic from there, with the addition of a minor 3rd. IE: for Marwa from C, Major Pentatonic beginning with A plus a C natural. And C will be rare.
It’s the strangest raga in the world afaict.
Just grist for the mill?
One may be tempted to suggest engagement with topics as a strategy to generate interest but a decade with 8 drive-bys like this one indicates no interest in the forum except for this.
Since all the OP’s posts are from commercial, while pretending to be a topic once or twice, I can make it a music_theory_topic.
The names appear to be drawn arbitrarily, a big hodgepodge...
The video is information flashing by but fast, in order to get the umpteen volumes up in three minutes... Ok then.
one thing caught my eye, actually two, both using the name “Marva” but w. such as “omit 3”. One is given as ‘fourth mode of’, additionally.
Marva or Marwa is in fact one, single thaat. “Omit 3” and it is not that thing. Do “mode of”, it is not that thing. Then we find that the <source> for the thing is supposedly some blues phrygian hexachord. This is bullshit.
I have found two comparative authorities to place the raga or raag:
1) Pratap Singh “writing in the late 18th century” states that it’s the same as “the ancient Malawa” (one supposes the parent of the family of ragas is indicated), while suggesting the contour of Raga Marwa is similar.
2) Jairazbhoy, a modern writer says it may be the same.
Anyway, no raga is sourced in some ad culum internet bullshit name. I can’t know from here what ‘the ancient raga’ is, but the name Malawa is taken from a tribe in antiquity (Before the Common era), and I tend to doubt an Indian writer uses the term all that lightly.
Show some respect. For the music and for a forum.
This is to be expected when one is strictly from commercial. The mathematical approach and some quickie names from no clue.
The hype boasts “In depth”...
Marva caught my eye because I know it. The raga (as well as two other children) omits “Panchama”, the Perfect fifth which is a fundament of ICM. In addition, the sixth acts more or less as its tonic, and the drone is usually at that degree. The way it was shown to me, think of it as a major pentatonic from there, with the addition of a minor 3rd. IE: for Marwa from C, Major Pentatonic beginning with A plus a C natural. And C will be rare.
It’s the strangest raga in the world afaict.
Just grist for the mill?
One may be tempted to suggest engagement with topics as a strategy to generate interest but a decade with 8 drive-bys like this one indicates no interest in the forum except for this.
- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
I’m sorry, that was too mean by half. One should strive more to remain a bit more collegial than that show.
pet peeve, internet music theory culture, haphazard and kind of empty, though.
Also irritating was gauging dissonance intervals in scales. I recommend ignoring that bit.
IE: minor seventh is a certain degree of dissonance to tonic, but it’s unison to a bVII chord, a P4 to IV etc.
pet peeve, internet music theory culture, haphazard and kind of empty, though.
Also irritating was gauging dissonance intervals in scales. I recommend ignoring that bit.
IE: minor seventh is a certain degree of dissonance to tonic, but it’s unison to a bVII chord, a P4 to IV etc.