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<p><font size="+1"><font face="Arial">Hi Charlie, Thanks for the
help. It took me three months to figure out a way to
demonstrate what I have sung, and taught to my students for
the past 50 years. (actually 69 years). <br>
</font></font></p>
<p><font size="+1"><font face="Arial">To "cut to the chase" a) music
(notes) are created by vibrations. 440 times a second for
example. Between 440 and 441 there are an infinite number of
vibrations. 440.001, 440.0007 etc. <br>
</font></font></p>
<p><font size="+1"><font face="Arial">I completely forgot that many
of today's keyboards have a pitch wheel. (I always played
piano, I play at keyboard). This morning I did a lot of
research. <br>
</font></font></p>
<p><font size="+1"><font face="Arial">I found the answer buried in
an obscure foot note. My last email proves to people who can
hear that quarter tones exist an for instance F# and Gb are
NOT the same. If I use chords it ma be more obvious.</font></font></p>
<p><font size="+1"><font face="Arial">In 1948 I worked at a Syrian
"Arabic" hotel. I heard zyther playing for the first time and
fell in love with the mid-eastern scales. Aside from studying
with, and working for, Sy Oliver, Dick Jacobs amd Johnny
Warrington - All 3 gave me arranging lessons, I studied with
Ludmella Uhlehla (not a jazz name) Vittorio Giannini, Nick
Flagello, Tibor Serly, John Lewis (MJQ) et. al. Got my
Bachelors and Masters of Music on the same day from Manhattan
School Of Music. My post graduate studies were at Columbia
University. I "Ghost" wrote music for Dean Kincaide, Raymond
Scott and quite a few others. <br>
</font></font></p>
<p><font size="+1"><font face="Arial">Enough about me. I beg to
differ... Jazz players are very aware of the different sounds.
They don't need a great education. They do need EARS. <br>
</font></font></p>
<p><font size="+1"><font face="Arial">One of the most important
playing with ensembles is to listen. I will create a small MP3
of the five tones. Maybe next week I'll figure out two chord
progressions to help guide some who say they can't hear the
difference. They can but it is so natural the listener does
not take the time to identify the sounds. So What! <br>
</font></font></p>
<p><font size="+1"><font face="Arial">Cheers, <br>
</font></font></p>
<p><font size="+1"><font face="Arial">Al <br>
</font></font></p>
<p><font size="+1"><font face="Arial">----------------------------------------------------------------------</font></font><br>
</p>
<div class="moz-cite-prefix">On 12/13/2019 4:00 PM, Charles &
Jane Freeman wrote:</div>
<div class="moz-cite-prefix">Dear Al -
<div class=""><br class="">
</div>
<div class="">I couldn’t open your file, but I’ll weigh in anyway.</div>
<div class=""><br class="">
</div>
<div class="">Music theory makes a distinction between the notes
of flat key scales (F, Bb, Eb, Ab, Db, Gb, Cb) and and the notes
of sharp key scales (G, D, A, E, B, and C#) and this distinction
<i class=""><u class="">is</u></i> important for written music.
Only orchestra players will tell you they can hear a difference
— sharp keys being slightly brighter than flat keys — and
orchestras do tune up and do shade their notes slightly
differently for pieces written sharp keys than for pieces in
flat keys When they are playing piano concerto, however, they
tune to the piano, an instrument that makes no difference
between C# and Db. </div>
<div class=""><br class="">
</div>
<div class="">Unless you have perfect pitch, I can virtually
guarantee that you'll never hear a difference. Jazz players
certainly don’t make any distinction, except that they tend to
prefer to play tunes in flat keys (especially Bb, Eb, and Ab)
which fit the transposition needs of the reed and brass players.
Rock, blues, and pop groups prefer sharp keys (especially G, A,
and E) because the open strings of guitars fit sharp keys.</div>
<div class=""><br class="">
</div>
<div class="">Hope this helps. </div>
<div class=""><br class="">
</div>
<div class="">-charlie freeman <br>
</div>
</div>
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