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1

If you are looking for Jazz theory, The Lydian Chromatic Concept by George Russell would be a great starting point. The original came out in the early 1950's and it was extremely influential on players like Miles Davis. It is often credited with being one of the primary inspirations for later movements in jazz, especially modal jazz. Rock, blues, and heavy ...


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One of the central harmonic (and melodic) innovations of early 20th-century music was the conflation of the linear and harmonic dimensions. That is to say, a collection of pitches might just as easily be a motive or a melody as it might be a chord. In the common-practice world the linear, melodic dimension tends to be dominated by whole and half steps while ...


2

Are you familiar with pitch-class set analysis? The pioneering work was done by Allen Forte in his books, The Structure of Atonal Music and The Harmonic Organization of The Rite of Spring. If you can get hold of it, John Rahn's book Basic Atonal Theory presents Forte's ideas and methods in a much more user-friendly manner. The basic idea is to convert ...


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It looks like the strange Clefs you have provided are the result of a few musical situations which up until relatively recently, were somewhat confusing to formally notate, thus unusual clef suggestions in the late 19th through the early to mid 20th centuries. Essentially, there are a few categories of instruments which transpose, usually down by an octave ...


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Very interesting diagram. I hadn't ever seen the use of the "C-clef" to mark the pitch C in a space, rather than on a line. However, as @Old John points to in his comment, the Wikipedia page about clefs deals with just such a clef. At the top of the page this clef is first hinted at: Only one clef that references a note in a space rather than on a line ...


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You have not exactly explained where you found this example: in Gardner Read's book (page 55) there is an example of the upper clef (G clef with funny bracket), which he explains as one form of the clef for a tenor part, meaning G clef 8vb (and not the same as the "tenor clef", which is a C clef). I can't see this particular combination of two staves. On ...


2

My best guess as to the intention of this notation would be that the entire grand staff is being transposed down an octave. As I'm sure you know, the treble clef on its own places C5 on the third space. The C clef used for alto/tenor clef is meant to be centered upon C4, or middle C. So, the fact that a C clef is centered upon the third space of the upper ...


2

To call such chord a Dominant surely saves time and it is practical thing to do when your theory knowledge is strong. However the "major, minor 7th" perfectly describes all the intervals -omitting the fifth- and it is a more straightforward approach to chord learning.


3

It's a very distinct and verbose way to name 7th chords that is derived from classic theory. I'm not sure if it has a name or even needs a name as there's always more then one way to name chords for example some people use Co7 to represent a fully diminished chord and some people use Cm6b5 to denote the same chord and call it that. I'll refer to it as 7th ...


3

I don't know if the major-minor thing has a name, but the idea is to dissociate the actual intervals from the tonal function. Calling a chord a "major minor seventh" is simply describing the chord without any context, and calling a chord a "dominant" chord is describing a relationship with the tonic. In the kind of Classical music that is typically used to ...



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