Is the Harmonic Series Tonic or Dominant?

[e7m]

Hey,
I lost touch with this group with the overrun of useless non music gibberish but recently was updated with a real theory inquiry and I saw a few of the older members' name so I am trying to see if there are still any of us still around and where you are hanging out online.

Let me know if you are here any more.

LJS

[Orlando Enrique Fiol]

Post by e7m
I lost touch with this group with the overrun of useless non music gibberish

but recently was updated with a real theory inquiry and I saw a few of the
older members' name so I am trying to see if there are still any of us still
around and where you are hanging out online.

I'm still in Philadelphia, still working on my doctoral dissertation on
Cuban/Latin piano, and obviously still perusing Usenet.

[o***@gmail.com]

Hi Orlando,

I'd love to read whatever it is your working on. I'm a developing Salsa and,to a lesser extant, Jazz pianist. I'm learning my chops in the Japanese Chromatone.

- OES

[e7m]

Post by e7m

Post by e7m
I lost touch with this group with the overrun of useless non music gibberish

but recently was updated with a real theory inquiry and I saw a few of the
older members' name so I am trying to see if there are still any of us still
around and where you are hanging out online.
I'm still in Philadelphia, still working on my doctoral dissertation on
Cuban/Latin piano, and obviously still perusing Usenet.

Interesting. A friend of mine was working on his for over 12 years, maybe over 20. Unless he retired he is the department head of a local university. UNO. I have to contact him, its been too long.

I did not know that (or did not remember that!) or that you were interested in Cuban music. I have been doing my own compilation of experiences and theory to my local music hear in NOLA and its roots are both Cuban and all Latin music (and I don't mean Pope Gregory) as well as the origin of both, Senegal. I would be interested to discuss some of the interrelationships of the music from West Africa and how it made its way through the Caribbean and then exploded in all directions into so many sub-genres.

But since, this inquiry was using the form of the Harmonic Series (on of my more enjoyable discussions!) and discovered some interesting things if you compare the ratios of the Harmonic Series to rhythms, I discovered some interesting relationships of the African/Latin/NOLA influenced genres. I am using NOLA here to represent not only Jazz as started here, but it also planted a strong seed in R&B, Zydeco, R&R to name a few genres that passed through this part of the rhythmical migration that shaped our Western Musical Cultures.

At any rate, I am open to discussion here or anywhere, but I would like to establish a public access to music theory. I am using Google for this and I really don't understand who sees what and all that kind of thing. My computer that had all that worked out before is history, so keep in mind that if I do not respond to you. I did not see it. But if I see it I will at least reply after a couple of days LATEST unless there is a problem.

I think that there are people interested in learning music and this is as good as place to start that I can find. If you have a better group that is more active, I would be happy to check it out.

NIce to hear from you. I don't know if this is private or public, but as I hear from the old friends I will share the site I am working on but at present, I can do without the aggravation that could result from some of those fantasy land spammers.

JB Wood an I have had one contact, I am trying to get that straight and learn this new (to me) system of communicating in my copious free time.

LJS

[Orlando Enrique Fiol]

Post by e7m
Interesting. A friend of mine was working on his for over 12 years, maybe over 20. Unless he retired he is the department head of a local university. UNO. I have to contact him, its been too long.

I hope not to work on mine for even ten years, although I suppose I've been
laying its groundwork for much of my adult life. Researching and writing a
dissertation involves a particularly focused kind of work that precludes
distraction, which is hard when you have to earn a living.

Post by e7m
I would be interested to discuss some of the interrelationships of the music

from West Africa and how it made its way through the Caribbean and then
exploded in all directions into so many sub-genres.

Which portion of that journey interests you most: the explosion, the migration,
displacement, degradation, etc.? All sorts of things happened to the
"original" West African sounds, instruments and structures as they made the
Middle Passage to this hemisphere. I'm very fascinated by the ways in which
West African musics have been retained or irrevocably altered in the New World.

Post by e7m
But since, this inquiry was using the form of the Harmonic Series (on of my

more enjoyable discussions!) and discovered some interesting things if you
compare the ratios of the Harmonic Series to rhythms, I discovered some
interesting relationships of the African/Latin/NOLA influenced genres. I am
using NOLA here to represent not only Jazz as started here, but it also planted
a strong seed in R&B, Zydeco, R&R to name a few genres that passed through this
part of the rhythmical migration that shaped our Western Musical Cultures.

I'd say that the only value in such an exploration is that 5 and 7 are prime
numbers.

Feel free to email me privately.
Orlando

[e7m]

Post by Orlando Enrique Fiol

Post by e7m
Interesting. A friend of mine was working on his for over 12 years, maybe over 20. Unless he retired he is the department head of a local university. UNO. I have to contact him, its been too long.

I hope not to work on mine for even ten years, although I suppose I've been
laying its groundwork for much of my adult life. Researching and writing a
dissertation involves a particularly focused kind of work that precludes
distraction, which is hard when you have to earn a living.

Tell me about it!

Post by Orlando Enrique Fiol

Post by e7m
I would be interested to discuss some of the interrelationships of the music

from West Africa and how it made its way through the Caribbean and then
exploded in all directions into so many sub-genres.
Which portion of that journey interests you most: the explosion, the migration,
displacement, degradation, etc.? All sorts of things happened to the
"original" West African sounds, instruments and structures as they made the
Middle Passage to this hemisphere. I'm very fascinated by the ways in which
West African musics have been retained or irrevocably altered in the New World.

This reminds me of a revelation I had when I first found a recording of "Baby" Dodds back from the early Armstrong days. I had already been to North Africa where I was friends with an expert on West African music with an endless collection of tapes. (yes it was a while back) but back to the topic.

The solo was in a dixieland setting and it was pure West African (Senegal) type of drumming and he was playing it on a trap set. I will try to search through all my files for my digital copy. Haven't heard it in years, but it was a definite link of some pretty authentic rhythmical concepts and execution but with the phrasing of some dixieland creeping in. I could immediately see how his playing was a strong influence on the drummers that were around at the time Dixieland began.

I have been working on describing how the "Clave" we use in our early music in NOLA is used in Afro Cuban and other Latin music genres. Brazilian music follows along but it sounds like it has other inputs as well.

Post by Orlando Enrique Fiol

Post by e7m
But since, this inquiry was using the form of the Harmonic Series (on of my

more enjoyable discussions!) and discovered some interesting things if you
compare the ratios of the Harmonic Series to rhythms, I discovered some
interesting relationships of the African/Latin/NOLA influenced genres. I am
using NOLA here to represent not only Jazz as started here, but it also planted
a strong seed in R&B, Zydeco, R&R to name a few genres that passed through this
part of the rhythmical migration that shaped our Western Musical Cultures.
I'd say that the only value in such an exploration is that 5 and 7 are prime
numbers.
Feel free to email me privately.
Orlando

I don't think I have your address. You could send it from one of my contact boxes on my site.

LJS

element7music.com

[Orlando Enrique Fiol]

Post by e7m
This reminds me of a revelation I had when I first found a recording of

"Baby" Dodds back from the early Armstrong days. I had already been to North
Africa where I was friends with an expert on West African music with an endless
collection of tapes. (yes it was a while back) but back to the topic.

Post by e7m
The solo was in a dixieland setting and it was pure West African (Senegal)

type of drumming and he was playing it on a trap set. I will try to search
through all my files for my digital copy. Haven't heard it in years, but it was
a definite link of some pretty authentic rhythmical concepts and execution but
with the phrasing of some dixieland creeping in. I could immediately see how
his playing was a strong influence on the drummers that were around at the time
Dixieland began.

What is the basis for the affinities you hear? Can you point to specific
phrases common to both the Senegalese drumming and Dixieland? Alternative, do
you hear a similarity between the developmental or improvisatory processes
common to both musics? I often hear structural similarities between widely
disparate musics (I.E. Hindustani tabla and Afro-Cuban báa). If there are any
musical universals, I think there are improvisational strategies common to
nearly all cultures.

[e7m]

Well, the claves are similar. Of course, there are a lot of that in many genres of music.
There is a lot of little,details that appear in out early music in NOLA and some of our local greats, like Fats have had his version of the early Haitian and Senegalese influenced R&B adopted to the Jamican ragged style.
And if you can find any early Baby Dodds drum solos, you will hear the connection quite clearly.

I have not done a lot of formal analysis and I probably would not use the proper language that your more exact analysis would use so I would be more easily able to answer questions directed to specifics related to those three sources to get to know how to communicate with you at a higher level. I play percussion, but my formal training is in harmony and melodic theory and composition. But I have played with more percussionists than most and have lived and played in Moroc, Bolivia, Central Asia and China as well as extensive travel from living in those countries, so I am interested in what you have to say as well as having some experiences that might be of use to you.

Please reply and if you don't get an answer, I did not get it. I just now got your post and found my way back here to reply. I would really love to get this thing working again but have been n
Having problems communicating with the group.

Hope to hear from you.
LJS.