<BR><BR><B><I>padawan12 <padawan12@obiwannabe.co.uk></I></B> a écrit : <BLOCKQUOTE class=replbq style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid"> <DIV><BR>>What about with more flowing classical music of<BR>>Vivaldi, Debussy and Gorekci? I suppose that works in the same<BR>>way but the rythmn/timing is just more subtle or implied.</DIV> <DIV> </DIV> <DIV>Vivaldi is a composer from a period when the sixth semi tone,</DIV> <DIV>or the fifth flat, or the devil note, were not allowed at all by the church. </DIV> <DIV>He had to follow very strict rules,</DIV> <DIV>that's why his music sounds very childish (in my paradigm).</DIV> <DIV>While Debussy is a more modern composer,</DIV> <DIV>he has been very influenced by Erik Satie which has stopped to follow the old rules of harmony imposed since centuries, they have introduced the concept of enharmony, and arythmic patterns.<BR><BR>>What is a tri-tonic
substitution?</DIV> <DIV> </DIV> <DIV>The seventh flat in a major chord is the triton of the major third, if we substitute a 7 flat major chords with another one, _six semi-tones below_, or above (same one), we will get the same notes than the altered chord.</DIV> <DIV>The altered chord is often used instead of the 7 flat major chord for resolving</DIV> <DIV>to the major chord or a minor chord one fift above.</DIV> <DIV> </DIV> <DIV>It's a kind of mirror effect.</DIV> <DIV> </DIV> <DIV>Regards,</DIV> <DIV>Patco.</DIV> <DIV> </DIV> <DIV>PS: I've attached a better sounding of voices example patch.</DIV></BLOCKQUOTE><p> 
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