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Topic: Stupid questions 101 |
Jerry Dragon
From:
Gate City Va.
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Posted 23 Aug 2008 2:04 pm |
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| co-dependent? Besides my relationship with my wife, what is a co-dependent. I read and hear the term alot but don't know what it pertains to or what it means? |
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Pete Finney
From:
Nashville Tn.
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Posted 23 Aug 2008 2:11 pm
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| A 10 second "google" search with the words "co-dependent" and "definition" would probably answer your question way better than this forum would... |
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David Nugent
From:
Gum Spring, Va.
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Posted 23 Aug 2008 2:18 pm term
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| Jerry...Could you possibly be referring to the term "co-pedant"? This is the term used to describe the pedal and lever setup on a steel guitar. |
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 23 Aug 2008 2:18 pm
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You may not like it, but here it is...
http://www.allaboutcounseling.com/codependency.htm#whatis
On the other hand, if you're talking steel guitar, you probably mean CoPeDent ChOrd-PEDal arrangemENT
It's a made-up term (which no one else but a few steelers understand), and I just prefer "tuning setup", or "pedal setup" instead. |
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Edward Meisse
From:
Santa Rosa, California, USA
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Posted 23 Aug 2008 2:35 pm
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Just so you'll know, in case you don't already, never take internet quizes. They will NEVER give you the results unless you give them your personal information.
_________________
Amor vincit omnia |
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Jerry Dragon
From:
Gate City Va.
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Posted 23 Aug 2008 3:02 pm
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| Donny Hinson wrote: |
You may not like it, but here it is...
http://www.allaboutcounseling.com/codependency.htm#whatis
On the other hand, if you're talking steel guitar, you probably mean CoPeDent ChOrd-PEDal arrangemENT
It's a made-up term (which no one else but a few steelers understand), and I just prefer "tuning setup", or "pedal setup" instead. |
I read it so fast so often I just read codependent. Now I know better.
Stupid is as stupid does.
Thanx |
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Ray Minich
From:
Bradford, Pa. Frozen Tundra
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Posted 24 Aug 2008 5:16 am
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Tom Bradshaw's contribution to the lexicon...
Copedent, Copedant, 220, 221, whatever it takes... |
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Charles Curtis
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Posted 24 Aug 2008 5:26 am
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| So, what's a nice girl like you doing in a place like this? |
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Brian Kurlychek
From:
Maine, USA
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Posted 24 Aug 2008 7:34 am
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Why is that movie always quoted?
_________________
We live to play another day. |
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b0b
From:
Cloverdale, CA, USA
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Jerry Dragon
From:
Gate City Va.
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Posted 24 Aug 2008 12:21 pm
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| since I am on the stupid question track, why the F# in the tuning? I will be picking up my first steel in about a week and enquiring minds need to know. It will probably become self evident but preparation is better. |
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 24 Aug 2008 1:49 pm
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E9 is tuned to an E chord. F# is useful in melodies as the 2nd note of the scale. Since there is also a 7th in the open chord (D), F# is called the 9th, and is used in 9th chords.
When the A and B pedals are down, you have an A6 tuning, and F# is the 6th of that chord.
When the B and C pedals are down, you have an F#m chord (the IIm of the key of E), and F# is the root of that chord. |
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Jerry Dragon
From:
Gate City Va.
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Posted 24 Aug 2008 2:31 pm
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| since C6 is essentially an Am chord, and A6 is essentially an F#m chord, why not just call them that? |
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Bo Legg
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Posted 24 Aug 2008 4:22 pm
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For Pedal Steel,
"ChOrd PEDal arrangemENT" pronounced "CO PEE DENT"
Steel with Knee Levers,
"ChOrd kNEED arrangemENT" pronounced "CO NEED ENT"
Steel with pedals only.
pronounced "CO NO NEED ENT"
Non-Pedal Steel,
pronounced "CO PEE DENTLESS"
Banjo, pronounced
"CO PEE ON MY KNEE" |
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 24 Aug 2008 5:21 pm
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| Jerry Dragon wrote: |
| since C6 is essentially an Am chord, and A6 is essentially an F#m chord, why not just call them that? |
C6 is an Am7 chord, and A6 is F#m7. By convention the tunings are called by their relative major names. The tunings are usually built around the root inversion of the relative major; whereas, depending on how many strings you have, the root inversion of the relative minor may not be complete.
BTW, there are no stupid questions. There are only questions asked and answered, and questions unasked and left unanswered.  |
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Jerry Dragon
From:
Gate City Va.
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Posted 24 Aug 2008 6:22 pm
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| David Doggett wrote: |
| Jerry Dragon wrote: |
| since C6 is essentially an Am chord, and A6 is essentially an F#m chord, why not just call them that? |
C6 is an Am7 chord, and A6 is F#m7. By convention the tunings are called by their relative major names. The tunings are usually built around the root inversion of the relative major; whereas, depending on how many strings you have, the root inversion of the relative minor may not be complete.
BTW, there are no stupid questions. There are only questions asked and answered, and questions unasked and left unanswered. |
I will have to have the wife read this!  |
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Jeremy Threlfall
From:
now in Western Australia
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Posted 24 Aug 2008 7:30 pm
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On "Pedant" and Co-pedant"
I always figured that co-pedant was when more than one person would be getting pedantic.
One person being pedantic would be a pedant. Two or more people being pedantic together would be co-pedants.
"Pedant" From Wikepedia
The English language word "pedant" comes from the French pĂ©dant (1566 in Darme & Hatzfeldster's Dictionnaire gĂ©nĂ©ral de la langue française) or its source Italian pedante "teacher," schoolmaster, pedant. (Compare the Spanish pedante.). The origin of the Italian term is uncertain. The first element is apparently the same as in pedagogue (a teacher) etc.; and it has been suggested that pedante was contracted from the medieval Latin pædagogans, present participle of pædagogare "to act as pedagogue, to teach" (Du Cange); but evidence is wanting. The Latin word is derived from Greek παιδαγογός, < παιδ- "child" + αγειν "to lead", which originally referred to a slave who led children to and from school but later meant "a source of instruction or guidance".[1]
The term in English is typically used with a negative connotation, indicating someone overly concerned with minutiae and whose tone is perceived as condescending. When it was first used by Shakespeare in Love's Labour's Lost (1588), it simply meant "teacher". Shortly afterward it began to be used negatively. Thomas Nashe wrote in Have with you to Saffron-walden (1596), page 43: "O, tis a precious apothegmaticall [terse] Pedant, who will finde matter inough to dilate a whole daye of the first inuention [invention] of Fy, fa, fum"
Being referred to as a pedant, or pedantic, is generally considered insulting.[1] However some people take pride in being a pedant, especially with regard to the use of the English language.[2] In an attempt to avoid censure, people who wish to make a correction might preface it with "not wishing to be pedantic, but ..." or "without being a pedant, ...".[citation needed]
Pedantry can also be an indication of certain developmental disorders. In particular those with high-functioning autism, often have behavior characterized by pedantic speech.[2] Those with Asperger's tend to obsess over the minutiae of subjects and are prone to giving long detailed expositions, and the related corrections, and may gravitate to careers in academia or science where such obsessive attention to detail is often functional and rewarded. |
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Twayn Williams
From:
Portland, OR
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Posted 25 Aug 2008 9:35 am
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| Jerry Dragon wrote: |
| David Doggett wrote: |
| Jerry Dragon wrote: |
| since C6 is essentially an Am chord, and A6 is essentially an F#m chord, why not just call them that? |
C6 is an Am7 chord, and A6 is F#m7. By convention the tunings are called by their relative major names. The tunings are usually built around the root inversion of the relative major; whereas, depending on how many strings you have, the root inversion of the relative minor may not be complete.
BTW, there are no stupid questions. There are only questions asked and answered, and questions unasked and left unanswered. |
I will have to have the wife read this! |
Heh
Ok, key of C, no sharps, no flats:
C-E-G = 1-3-5 = Cmaj
C-E-G-A = 1-3-5-6 = C6
key of Amin no sharps, no flats (relative minor of C):
A-C-E = 1-3-5 = Amin
A-C-E-G = 1-3-5-7 = Amin7
Both in key of C:
I chord: C-E-G-A
vi chord: A-C-E-G
Same notes, different chords, different function within the key. This is mostly important for the bass player to know. The harmony player can play a minor 7th and the bass player makes it a 6th chord or a minor 7th chord depending on the note that is played:
harmony player plays: E-A-C-G
If bass player plays C, then it's a C6: C-E-A-C-G
If bass player plays A, then its an Am7: A-E-A-C-G
_________________
Primitive Utility Steel |
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b0b
From:
Cloverdale, CA, USA
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Posted 25 Aug 2008 9:45 am
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I thought I knew this stuff, but now I'm not so sure.  |
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Twayn Williams
From:
Portland, OR
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Posted 25 Aug 2008 10:20 am
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A maj6 chord is usually played on the I as a substitute for a major 7th chord, whereas the min7 is is played on the ii, iii, or vi.
This is a common jazz turnaround:
I6 - VI7 - ii7 - V7 - I6
C6 - A7 - Dm7 - G7 - C6
_________________
Primitive Utility Steel |
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Jeremy Threlfall
From:
now in Western Australia
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Posted 25 Aug 2008 5:47 pm
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| David Doggett wrote: |
| Since there is also a 7th in the open chord (D), F# is called the 9th ... |
This is the bit I've never understood.
WHY do we call F# the ninth (and not the second)as a consequence of there already being a 7th in the open chord? |
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Twayn Williams
From:
Portland, OR
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Posted 25 Aug 2008 6:05 pm
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| Jeremy Threlfall wrote: |
| David Doggett wrote: |
| Since there is also a 7th in the open chord (D), F# is called the 9th ... |
This is the bit I've never understood.
WHY do we call F# the ninth (and not the second)as a consequence of there already being a 7th in the open chord? |
It makes more sense if you think of piano. The ninth is played above the octave root, so if you start from 1 and keep counting, eventually you'll end up at 9. It's also why using the 4th with the 7th in a chord is called an 11th and using a 6th with the 7th is called a 13th.
Cmaj - C-E-G
C7 - C-E-G-Bb
C9 - C-E-G-Bb-D
C11 - C-E-G-Bb-F
C13 - C-E-G-Bb-A
These sort of chord extentions are usually used with the V chord, not so much with the I or the IV. The presence of the minor 7th in a major chord gives the chord its "dominant" flavor  The most important tones in a dominant chord are the 3rd and the 7th. Therefore, any additional tones you obtain using stacked 3rds are properly referred to by the number they have after the 7th.
If there is no 7th present, you might still refer to the chord as a 9th and not an add2 if the chord is performing a dominant function, i.e. if it's the V chord. OTOH, especially on the I and IV chords, if you don't have the 7th present, then the chord is referred to as an "add" chord, or a "sus" chord if the 3rd is missing.
Cadd2 - C-E-G-D
Csus2 - C-D-G
_________________
Primitive Utility Steel |
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Jim Bob Sedgwick
From:
Clinton, Missouri USA
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Posted 25 Aug 2008 6:09 pm
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| b0b wrote: |
| I thought I knew this stuff, but now I'm not so sure. |
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Don't worry about it b0b. It will fill up your brain and then you'll have a headache !!!   |
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Jeremy Threlfall
From:
now in Western Australia
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Posted 25 Aug 2008 6:13 pm
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Thanks, Twayn
so its because the second is used WITH the seventh that its called a ninth
... I think I get that
Last edited by Jeremy Threlfall on 25 Aug 2008 8:48 pm; edited 1 time in total |
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David Doggett
From:
Bawl'mer, MD (formerly of MS, Nawluns, Gnashville, Knocksville, Lost Angeles, Bahsten. and Philly)
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Posted 25 Aug 2008 8:00 pm
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| So does this mean that an E9/B6 uni is really an E add 2/B6 uni? The 7th (D) has been dropped. |
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