=o|-[

Matt: Thank's for explaining your Legacy problem....I see what your saying :-)

Clarky: Thanks man....BTW, I'm gonna go back and cut and copy the first theory posse post and make a scrapbook to compare notes and help explain the Guitar Handbook :-) BTW, glad to hear your axe is in better hands now! After all of the trouble you've been through, I'm sure your going to be satisfied when you finally get it!!

Geez, all you guys giving different opinions or versions of how music is read or written....it's giving me a headache. "Here, try one of these" "What are they"? They're Nuprin, little, yellow, different ;)

Clarky, I think I'll not try and keep up with your posts. I'll be one behind for a while.....

Whojackafibby, excellent answer to the Pink Floyd trivia question.....you beat me to it....lol BTW, how come I never see you on MSN?

NICKLEE: ya sliping dude, email me them sites would ya...lol pleaseeeeeeeee.....

WHOJACKAFIBBY: give him a thump for me, jog his memory..

A # and Bb are NOT the same notes.

Partially due to context, but in theory, a true A# is slightly higher than a Bb. On a tempered system such as the piano they are. But give a violinist an A# in a piece by Wagner, and later followed by a Bb, you will find the A# is higher, since it is written (due to context) to lean towards a B natural. You will find A# in B minor, but you will certainly not find Bb.

Mr Nick- the reason one has to be so petty, is because using incorrect terminology is the first step on the road to confusion. A diatonic scale has, by definition, 7 notes, each represented by a different letter of the alphabet.

c# major goes like this

c# d# e# f# g# a# b#

easy isn't it? Since the tonic is one higher than C, every other note is the same, but sharpened.

however Db major (an enharmonic key) goes like this:

Db Eb F Gb Ab Bb C

It's interesting when you get into G# major. Say a piece is in C# major, and modulates to the dominant (g# major). Some composers would rewrite it as Ab. But many don't want to keep swapping sharps and flats around (for correctness' sake)

so they write out:

G# A# B# C# D# E# ... then they have a problem. They need the note a semitone below G#. But they've got to call it F something. So it's called F double sharp. And a double sharp is notated by an "X"

It's curious why i chose wagner in the example above. He was terrible at using the correct system. He sometimes had G#s and Abs sounding at the same time, which is certainly wrong, theoretically. He wrote at the piano, you see, and on the piano, there is no difference (at least since tempring was invented, and the 48 came out- that's another lesson though)

tapper5: to cut and paste, select the text you want to copy/cut by moving your mouse cursor to the first letter of the text, and then holding down the right mouse button, drag your mouse to the last letter of the text, and then let go of the mouse. then left click over the selected text and click copy. then open up notepad, or whatever you use for text editing, and rightclick there and click paste..simple as that

hey jon, how's the downloadable rehersal webcast comin? or is it comin at all?

jblaze- i can understand that being somewhat hard to decipher.....

on the guitar, you'll play an Ab note exactly the same as a G# note. If you have a very sensitive ear, you might feel that the Ab is a touch too sharp, or that the G# is not quite sharp enough. That's how it is, sadly. But due to theory, and getting things consistent and correct, you have to choose the correct one (usually Ab in a flat key, and G# in a sharp key- Although G# is also found in A minor, which has no sharps or flats in the key signature)

Notes, in music are very much context dependant. If you have a keyboard instrument of some kind try this...

Play a C major chord (C, E and G). Now just play the e and g you played.

Now play an Dm chord (D, F and A). Now just play the d and f you just played.

You'll the interval between d and f is the same as between e and g. yet you'll probably feel as though the e and g sounded "happier" than the d and f.

If you want, you can use the same chords, only hold onto the c and e, then the f and a. Same interval again, but they sound so different, put in different contexts.

In the same way, an Ab will sound different to a G#, due to the context you will find it being used in.

sparrow - You're welcome. :-)

Is this my shortest post ever? LOL...

The Local Person,

First off, I'm a huge theory buff, and I love to hear stuff like that...

Second, the part about how a violinist will lean a B towards a C, that's one of the best explanations I've ever heard! I never even thought about it that way! Also an interesting connection here is that a true violinist will never use symetrical vibrato... I'm thinking there might be a connection (though one of lesser value) here...

Whojackafibby - you are correct!

Austin - I got the info. from "Saucerful of Secrets", a great book about Pink Floyd. I'll post some more tidbits as I'm reading it, if you are interested.