...and now this
Apr. 26th, 2006 09:20 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
raystrobel47Interview from ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
dicea:
1) Explain secondary function chords in terms of functional harmony, please include at least one example of a modern or well known piece that illustrates secondary function.
A secondary function chord, or "pivot chord," is a chord that functions in two seperate keys. This chord is used to transition into a modulation to a different key. The best modern and well known example I can think of still falls short of your request, for which I apologize. The tune is "Liberty Bell" and y'all know it from Monty Python. If you take the final chord as the foot comes down and goes "thpbthth!", that chord is at once the tonic chord of the original key as well as the dominant chord of the following section. As in every traditional march, especially those of John Phillip Sousa, the middle section or trio modulates to the sub-dominant key (if you start in F, the trio is in B-flat, and goes back to F at the end). My example falls short because Monty Python never plays the trio section, so I doubt many people know how that section goes.
2) What is the hardest part of composing music with intentions of selling it.
Trying to balance what I'd think would sound cool with the formula of what might sell. I don't want to jump off and do my thang, only to be snubbed for doing so. However, what I am doing with my collaboration is similar to how I was writing for Cut Once, my ska band. I want to take a traditional form, or formula, but tweak it in a way that is inequivocably mine, and hope it doesn't offend or put off those execs making those decisions. I hope that works.
3) If you could teach a class in the SCA that could help others gain a better understanding and appreciation of one element of music, what element would that be?
"Appreciating How Music Was Experienced Back Then, 101" From what I've read, we've romanticized so much of musical expression, very little of it has pure function now. I'm not passing judgement, but few "regular Giuseppes" out there want to hear Gregorian chant or anything before 1450 because we have nothing in our modern discography that really matches what music was like in the 14th century and before. Voices were without vibrato. Music was more functional, not decorative, especially with the religious works and the procession pieces. I'd teach people how to listen with an open ear and appreciate- not like, nor love, but to acknowledge and value what music was back then.
4) What is your greatest talent?
Um, I think it's my general musical aptitude. I've done everything to some extent: performed (vocal, woodwind, brass, percussion), composed (orchestral, choral, band, ska, pop), conducted (choral, orchestral [once], band) and taught (privately, professionally, elementary/jr/sr high, choral/genearl/instrumental). I can pick up an instrument and at least get around on it, though I claim to be a virtuoso in nothing. I can remember songs by their exact chords- sometimes when channel surfing on the radio, I'll hear one chord, but I know what that chord is in the context of that song. I don't know if that counts as talent, but I think it's one of my greatest strengths.
5) Do you think that period music and modern folk music can/should coexist in the SCA?
First: Can? Yeah. I think a lot of modern folk music, at least that sub-section that's about the SCA, is done in the tradition of the period, though not in the exact musical and lyrical language of the period. It has its place, and sometimes in certain bardic circles that can be heard along with a period ballad and fit right in. It doesn't work everywhere, but it can and has existed for a long time. I believe the modern folk music outdates period music when taken in the context of the SCA, anyway.
Secong: Should? Yes. Again, it has its place, and it's a great outlet for many SCAdians for the tradition of passing on those stories about the SCA and those in it. I don't think it should be everywhere, in every campsite or at every event, but I don't think it should be taken out of the Society.
dicea, thanks for making me think. I hope I've answered your questions well enough. For the rest of y'all! If you want to interview me, post your questions in the comments. If you'd like to be interviewed, let me know and I'll respond in the comments.
dicea:1) Explain secondary function chords in terms of functional harmony, please include at least one example of a modern or well known piece that illustrates secondary function.
A secondary function chord, or "pivot chord," is a chord that functions in two seperate keys. This chord is used to transition into a modulation to a different key. The best modern and well known example I can think of still falls short of your request, for which I apologize. The tune is "Liberty Bell" and y'all know it from Monty Python. If you take the final chord as the foot comes down and goes "thpbthth!", that chord is at once the tonic chord of the original key as well as the dominant chord of the following section. As in every traditional march, especially those of John Phillip Sousa, the middle section or trio modulates to the sub-dominant key (if you start in F, the trio is in B-flat, and goes back to F at the end). My example falls short because Monty Python never plays the trio section, so I doubt many people know how that section goes.
2) What is the hardest part of composing music with intentions of selling it.
Trying to balance what I'd think would sound cool with the formula of what might sell. I don't want to jump off and do my thang, only to be snubbed for doing so. However, what I am doing with my collaboration is similar to how I was writing for Cut Once, my ska band. I want to take a traditional form, or formula, but tweak it in a way that is inequivocably mine, and hope it doesn't offend or put off those execs making those decisions. I hope that works.
3) If you could teach a class in the SCA that could help others gain a better understanding and appreciation of one element of music, what element would that be?
"Appreciating How Music Was Experienced Back Then, 101" From what I've read, we've romanticized so much of musical expression, very little of it has pure function now. I'm not passing judgement, but few "regular Giuseppes" out there want to hear Gregorian chant or anything before 1450 because we have nothing in our modern discography that really matches what music was like in the 14th century and before. Voices were without vibrato. Music was more functional, not decorative, especially with the religious works and the procession pieces. I'd teach people how to listen with an open ear and appreciate- not like, nor love, but to acknowledge and value what music was back then.
4) What is your greatest talent?
Um, I think it's my general musical aptitude. I've done everything to some extent: performed (vocal, woodwind, brass, percussion), composed (orchestral, choral, band, ska, pop), conducted (choral, orchestral [once], band) and taught (privately, professionally, elementary/jr/sr high, choral/genearl/instrumental). I can pick up an instrument and at least get around on it, though I claim to be a virtuoso in nothing. I can remember songs by their exact chords- sometimes when channel surfing on the radio, I'll hear one chord, but I know what that chord is in the context of that song. I don't know if that counts as talent, but I think it's one of my greatest strengths.
5) Do you think that period music and modern folk music can/should coexist in the SCA?
First: Can? Yeah. I think a lot of modern folk music, at least that sub-section that's about the SCA, is done in the tradition of the period, though not in the exact musical and lyrical language of the period. It has its place, and sometimes in certain bardic circles that can be heard along with a period ballad and fit right in. It doesn't work everywhere, but it can and has existed for a long time. I believe the modern folk music outdates period music when taken in the context of the SCA, anyway.
Secong: Should? Yes. Again, it has its place, and it's a great outlet for many SCAdians for the tradition of passing on those stories about the SCA and those in it. I don't think it should be everywhere, in every campsite or at every event, but I don't think it should be taken out of the Society.
dicea, thanks for making me think. I hope I've answered your questions well enough. For the rest of y'all! If you want to interview me, post your questions in the comments. If you'd like to be interviewed, let me know and I'll respond in the comments.
