<font size=2 face="sans-serif">Even vocalists??? LOL</font>
<br>
<br><font size=2 face="sans-serif">I get the drift. Like lipping
up on a sax or something to match what's going on??? How do they
match the piano or other fixed keyboard instruments or are all the keyboards,
just "out of tune" with the rest of the orchestra on certain
passages?</font>
<br>
<br>
<br>
<br>
<table width=100%>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">From:</font>
<td><font size=1 face="sans-serif">"Tom Rhea, Jr." <rheapiano@cox.net></font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">To:</font>
<td><font size=1 face="sans-serif"><pianotech@ptg.org></font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">Date:</font>
<td><font size=1 face="sans-serif">09/27/2011 03:07 PM</font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">Subject:</font>
<td><font size=1 face="sans-serif">Re: [pianotech] theory question</font></table>
<br>
<hr noshade>
<br>
<br>
<br><font size=2 color=#000080 face="Arial">Hi Paul,</font>
<br><font size=2 color=#000080 face="Arial"> </font>
<br><font size=2 color=#000080 face="Arial">An instrumentalist generally
only plays one note at a time but all of the notes of the score must be
harmonically related. That’s true even with a vocalist. If
you look at a score (piano, orchestral, choral, etc) and analyze each chord,
you’ll find that they can be broken down into a very logical, though sometimes
extremely complex, structure. What confuses me at times, is a note
(G# for instance) that crosses a bar line and becomes an A flat. Musically,
they’re the same note but harmonically they’re not because the other
notes in the chord have changed, making the entire structure into something
different, even though the two notes (G# and A flat) sound the same to
the ear. Instrumentalists, but especially vocalists, have to be aware
that the A flat must be tuned slightly when going from a G# because of
the inharmonicity within the chord structure. As piano technicians,
we have to be aware of the same inharmonicity when tuning since some of
the intervals need to be stretched or compressed slightly to match the
temperament. The same occurs in instrumental or vocal music, too,
especially with string instrumentalists and vocalists.</font>
<br><font size=2 color=#000080 face="Arial"> </font>
<br><font size=2 color=#000080 face="Arial">I hope this hasn’t been too
long-winded and makes some sort of sense.</font>
<br><font size=2 color=#000080 face="Arial"> </font>
<br><font size=2 color=#000080 face="Arial">Regards,</font>
<br><font size=2 color=#000080 face="Arial">Tom</font>
<br><font size=2 color=#000080 face="Arial"> </font>
<br><font size=2 color=#000080 face="Arial"> </font>
<div align=center>
<br>
<hr></div>
<br><font size=2 face="Tahoma"><b>From:</b> pianotech-bounces@ptg.org [</font><a href="mailto:pianotech-bounces@ptg.org"><font size=2 face="Tahoma">mailto:pianotech-bounces@ptg.org</font></a><font size=2 face="Tahoma">]
<b>On Behalf Of </b>Paul T Williams<b><br>
Sent:</b> Tuesday, September 27, 2011 3:30 PM<b><br>
To:</b> pianotech@ptg.org<b><br>
Subject:</b> Re: [pianotech] theory question</font>
<br><font size=3 face="Times New Roman"> </font>
<br><font size=2 face="sans-serif">Ahhh! Makes sense to me. Thanks
for clarifying this. I always wondered that, too. But; why
do this, when the notes are just written in the score? Would a bassist
wonder why he/she is playing an E or G when it's a C chord? I've
always just played what's written. Am I missing something?</font><font size=3 face="Times New Roman">
<br>
</font><font size=2 face="sans-serif"><br>
Best,</font><font size=3 face="Times New Roman"> </font><font size=2 face="sans-serif"><br>
Paul</font><font size=3 face="Times New Roman"> <br>
<br>
</font>
<p>
<table width=100%>
<tr valign=top>
<td width=14%><font size=1 color=#5f5f5f face="sans-serif">From:</font><font size=3 face="Times New Roman">
</font>
<td width=85%><font size=1 face="sans-serif">"Tom Rhea, Jr."
<rheapiano@cox.net></font><font size=3 face="Times New Roman"> </font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">To:</font><font size=3 face="Times New Roman">
</font>
<td><font size=1 face="sans-serif"><joegarrett@earthlink.net>, <pianotech@ptg.org></font><font size=3 face="Times New Roman">
</font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">Date:</font><font size=3 face="Times New Roman">
</font>
<td><font size=1 face="sans-serif">09/27/2011 02:04 PM</font><font size=3 face="Times New Roman">
</font>
<tr valign=top>
<td><font size=1 color=#5f5f5f face="sans-serif">Subject:</font><font size=3 face="Times New Roman">
</font>
<td><font size=1 face="sans-serif">Re: [pianotech] theory question</font></table>
<br><font size=3 face="Times New Roman"> </font>
<div align=center>
<br>
<hr noshade></div>
<br><font size=3 face="Times New Roman"><br>
<br>
</font><font size=2 face="Courier New"><br>
Hi Joe, et al,<br>
<br>
The actual theory behind this convention is this:<br>
<br>
Consider the CEG major chord and the note positions when being played.
All<br>
the notes are said to be in their root positions.<br>
<br>
When a first inversion of the CEG chord is being played, the E and G are
in<br>
their root positions but the C has been moved up an octave and is now a
4th<br>
interval above the highest adjacent root note, the G. This position,
EGC,<br>
is said to be a C Major 4 or first inversion of the C Major chord.<br>
<br>
In the second inversion of the CEG chord, the only note still in its root<br>
position is the G. The C and E are moved an octave above their root<br>
positions, such that the E is a 6th interval above the G (in its root<br>
position) and the C is a 4th interval from the G (in its root position),<br>
hence a C Major 6/4.<br>
<br>
All of the chords are spelled from the bottom. However, the intervals
which<br>
comprise the inversions are labeled from the highest note still in its
root<br>
position to the one or two notes that have been moved up an octave from<br>
their root positions, either a 4th interval for a first inversion or a
6th<br>
and a 4th interval for a second inversion. The labeling of the inversion<br>
intervals is always from the highest interval first.<br>
<br>
I hope this helps with understanding the theory question.<br>
<br>
Regards,<br>
Tom<br>
<br>
<br>
-----Original Message-----<br>
From: pianotech-bounces@ptg.org [</font><a href="mailto:pianotech-bounces@ptg.org"><font size=2 color=blue face="Courier New"><u>mailto:pianotech-bounces@ptg.org</u></font></a><font size=2 face="Courier New">]
On Behalf<br>
Of Joseph Garrett<br>
Sent: Tuesday, September 27, 2011 2:26 PM<br>
To: pianotech<br>
Subject: Re: [pianotech] theory question<br>
<br>
Ken said: "I concur with Tom. You count from the bottom up. A "6"
is the<br>
interval between the E and the C when in first inversion. In second<br>
inversion, G, C, E, there is a 4th between the G-C and an "6"
between the<br>
G-E."<br>
<br>
Ken Gerler (I was a theory major in college)<br>
<br>
Hmmm? if that were the case, then the later would be a 4/6 rather than
a<br>
6/4. Right?<G> Personally, I prefer the Jazz Musicians way of saying<br>
something like "the C chord with a G in the bass.<G><br>
That's my take on that.<br>
Joe<br>
<br>
<br>
Joe Garrett, R.P.T.<br>
Captain of the Tool Police<br>
Squares R I<br>
<br>
</font>
<br>
<br>