Schillinger and sevenths and Equal Temp.

[Richard Moody]

HI Ralph 
	Thanks for the return.   I am not a player, I only plunk for
pleasure.  Still every once in a while music theory becomes
important, and then passes to something more important.  Right now I
am trying to devise a method of using ASCII to write down melodies.  
 
`Thanks for the posts. I am sure a will be asking something one of
these days. Like where do you think these major sevenths, and ninths
and thirteenths would be without Equal Temperament?  It is
interesting to speculate how this might only be possible through ET. 
I am referring to the basic keyboard lessons of how the triads move
through the scale of C with each note for the root.  Thus I, IV, V
are major, while II, III, VI, are minor.  VII is left for college
level discussions, if you can't resolve it on your own.   Then you go
and do the same for the sevenths.  and ninths, and thirteenths. 
	So those of us into "pop" music these positions and progressions
become ingrained,   as any melody  that can be played in the key of
C, can be accompanied by a seventh chord (in C of course).   What
makes it simple is that it sounds good in the root position.  (well
at least for plunkers).   Did ET make this pop music sound (,)
possible?  Who knows but it is interesting to relfect upon.  I have
heard it in Pythagorean. (tuned from c1) (middle C) 

	There we are back on topic, I hope... for those concerned.

Richard the wondering wanderer. 


> From: rmartin21@juno.com
> To: pianotech@ptg.org
> Subject: Schillinger
> Date: Thursday, July 17, 1997 1:30 PM
> 
> Hi Rich
> 
> I f you are interested in the Schillinger Manuscripts, they were
> published by Carl Fischer, N.Y. and titled "The Schillinger System
of
> Musical Composition" by Joseph Schillinger.
> 
> You are hearing students of the system almost daily since the 40's
> anyway. From Glen Miller and Sauter Finnegan bands to Nero, and all
the
> rest who studied at Julliard.
> 
> While a lot of folks have some greivances with Julliard, including
my
> good buddy Jim Bryant, the simple fact remains that they have
probably
> turned out more successful and well-known musicians and composers
than
> any other school in the world. An interesting observation is that
the
> system turns out players off classical music AND popular music.
There is
> no snobbish preference for either one.
> 
> The school also answers the old question, "yeh, I know you're a
player,
> but can you play well enough to make a living/". While asked in
jest,
> Julliard seems to turn out musicians that DO make a living playing,
> orchestrating and composing.
> 
> If you're a player, Rich, the system could be an eye opener for you
and
> worth the expenditure. You'll get a special "boot" out of playing
the
> classical composers compositions tjhat Schillinger liked to REWRITE
> during his lesson material. The real purpose, I beleive, is to
eradicate
> the old musical "laws" that you thought were "gospel" and to
correct the
> resultant tunnel vision. It's another way of looking at this thing
called
> melody, harmony and composition. While certainly not the ONLY word
in
> music, it is ANOTHER word in music. There, after all, are no real
"rules"
> ...only the ones that confine and inhibit our learning something
new.
> 
> Go for it!
> 
> Ralph .