11 Matching Annotations
  1. Sep 2023
  2. Jul 2023
    1. PROCEDURE FOR CHORD CONSTRUCTION The priori~y order dIe is not set up cornplecely by rhe &crates ~Facoustics. There are adjust- ments made to the table thar are more reflective of"c~rnrnon pracrice." That is, taking prefer- ence in the order of notes chat emphasize the modal quality of a primary mne or sel~cting notes that conform to documented use in recordings or printed music. It will be explained in each example when an adjuscrnent is made. Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use of a11 spacings. 1. Select che general tessitura and soar of rhe chord. 2. Select the kind of spacing. 3. Place the primary color tone somewhere within the seIecced ressitura. 4. FiIl inJ up or dawn, the remaining coIar cones wirhin the specified incervaI of che selected spacing to the number of notes desired in the chord (four or five plus root is ypical). 5. Keep in mind the rules of supporr and balance if good support and balance are desired. One should be abIe to create a balanced chord on assignment. 6. If constructing mixed spacings, try co create balanced chords first, then experiment with exotic (imbalanced) spacings. Some of them sound surprisingly good. 7. Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing- 8. Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example. At this time it should be pointed out hat there is a problem with rhe standardization ofmodal chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples are a compilation ofsuggestions that I have received from the many studerm I have had from all parts of the world. These suggested symbols work, but are open ro criticism
    1. Nowhere is the P&V distortion so plain and disturbing as in their versions of Tolstoy.Critics sometimes say it is impossible to ruin Tolstoy because his diction is so straightforward. But it is actually quite easy to misrepresent him if one does not understand the language of novels. Since Jane Austen, novels have tended to trace a character’s thoughts in the third person. The choice of words, and the way one thought begets another, belongs to the character, and so we come to know her inner voice. At the same time, the character’s view may not comport with the author’s, and it is the art of the writer to make clear that what the character is seeing is deluded or self-serving or foolish. This “double-voicing” lies at the heart of the 19th-century novelistic enterprise. For Dickens and Trollope, “double-voicing” becomes the vehicle of satire, while George Eliot and Tolstoy use it for masterful psychological exploration. If one misses what is going on, the whole point of a passage can be lost.
  3. Jun 2023
    1. Dorian Family of Voicings
    2. Chapter 14 discusses three types of voicing chord, upper-structure triads, rootlessformations and incomplete voicings, and explores their harmonic and voice-leadingpotential
    3. In jazz terminology, the term “voicing” refers to the arrangement of notes within a chord.That arrangement can be either close or open. In a close voicing the arrangement ofnotes is the most packed possible. In an open voicing, the arrangement of notes is

      intervallically more diverse. The most common method of generating an open voicing is to drop certain notes from a close-position chord down an octave. In a “drop 2” voicing, the second note, counting from the top note, is dropped down an octave. “Drop 2” refers to voicings above the bass in which the bass note is not counted as one of the voices being “dropped.” Each chord in Figure 4.15 includes three “drop 2” voicings because the three notes above the bass can be rotated three times.

      see figure 4.15 on p 47

  4. Feb 2021
    1. oicing can alsoentail publicly calling ‘bullshit on bullshit’ orseeking help from an outside agency, such as aunion or government office. Employees are morelikely to choose to voice when they perceive thatthe organization offers sufficient psychologicalsafety; that is, when employees sense that theywill not be embarrassed or punished if they speakup (Frazier, Fainshmidt, Klinger, Pezeshkan, &Vracheva, 2017). The propensity to voice also de-pends on the extent to which employees haveorganizational commitment; that is, whether theycare for and believe in the organization enough towant to counter the harm of bullshit, combinedwith their perceived ability and capacity to make adifference. Such conditions are necessary foreffectively confronting bullshit. A principle knownas Brandolini’s Law states that the amount of en-ergy needed to refute bullshit is an order ofmagnitude larger than is needed to produce it(“Brandolini’s Law,” 2014).
    2. Voicing is the act of employees speaking up toconfront what they consider to be bullshit. Em-ployees may ask to see evidence that supports thesuspected bullshit. They may themselves providebullshit-challenging evidence along with alterna-tive statements, and when doing so should becognizant that simple and coherent bullshit willtend to be more appealing than intricate andcomplex truths. Employees may also voice bylaughing at and mocking bullshit. This is a way to“informally show up its emptiness without havingto risk a full-frontal face-off with powerful bullshitartists” (Spicer, 2017, p. 167).