Confession part 2... I don’t really like talking to people that have no clue what at least one of these is... 1. CDEF#G#A# or C#D#FGAB 2. E=I/R The conversations tend to be dry as fuck and I don’t like being ashy.
A few weeks ago, my step mother in law was showing off a pillow she made, but she used hot glue inatead of sewing it and it looks ghetto AF. I told her next time she should try sewing it instead and she freaked out and told me, "I KNOW HOW TO SEW!!!" So today I'm sewing corona masks from fabric scraps just for funzies. But I've decided to make one for every family member except her as a souvenir from the Apocalypse. She knows how to sew so she can make her own. I'm being petty...and I have no regrets.
The first set (in WESTERN music) are the two whole tone scales. They are EASILY recognizable because all of the intervals between the note letter names are whole steps or two half steps (2 semitones). There are only two of these possible, no matter what your starting pitch is, because the scales would be comprised of the same notes in either, respectively. These are derived from the one divine scale, which is NOT the ionian mode or major scale as most non-professional musicians learn it (WWHWWWH) but rather a rearraged scale, which supported properly, harmonically includes all twelve tones of the equal-tempered chromatic scale. This breaks down into three more scales called diminished scales. There are only 3 of these possible no matter what your starting pitch is based on their individual symmetries. Having solid knowledge of this, dramatically decreases your hunt and peck for the right chord/note time. It is sometimes difficult to arrange with musicians that don’t understand this concept or do not have absolute pitch, because they have difficulty playing by ear quickly and often make chord substitutions using the wrong quality of sound to support the melody in writing and transcription. It’s a classic debate between the formally and informally trained. As someone that learned informally first, (gospel church, jazz clubs, and hood performances with no music) and then went into the formal institution (lessons, music theory, composition, arranging, counterpoint, conducting, wind ensembles, orchestras, jazz, marching, studio recording, praise bands etc...) to enhance the talent that I was born with (absolute pitch), I had the ability to bridge the gap... although, I find arguments from both schools of thought at times, trivial at best. There are benefits and pitfalls to both learning methods initially, and sometimes (as music is not a horse race... paraphrasing Béla Bartók) to keep the peace, I just keep my opinion to myself. The second set, is ALMOST Ohm’s Law, which states that potential difference (voltage) between two points is directly proportional to the resistance of the circuit. It’s tied to elements of Chemistry, Physics, and Electrical Engineering. It’s one of the most fundamental concepts to understand in electronic troubleshooting other than signal flow(which is a concept required to understand if you build/work in any type of sound studio. I could go on... but this is already a long reply you probably won’t read all of. Both of these are of the most basic concepts to master in their respective fields. I would have accepted: 1. Whole tone scales 2. Ohm’s Law... better represented or corrected to V=IR or E = I x R If you care at all... now you know, but I’m still not sure our conversations would not be dry... or that I’ll be around PIMD on a frequent enough basis to ever find out. -Prost