Originally Posted by DrDan
Originally Posted by dcuny
Note that we aren't arguing for an interval like the perfect sixth to be treated as a chord. And in practice, power chords are almost always played on distorted guitars or basses. Neely agrees that it acoustically gains the "missing" third, which is why it can be treated as a chord.

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With all respect! Please forgive me for even mentioning this. I hate to bring it up, but I am a music nerd if nothing else! I actually tried to avoid this whole discussion because this general topic can drive people crazy (when it really should not). And I agree everyone has been very polite. But, as incorrectly indicated above, the 6th is not perfect. It is either major or minor. Only the unison, forth and fifth are perfect. And that point about "...Neely agrees that it acoustically gains the missing third" does not make sense to me and I did not hear him say that?

Finally, regarding my credentials which were questioned above, I have three certificates from Berklee, two in Music Theory and one in Jazz Guitar performance [at the moment I can not find that 3rd one, maybe my memory is mistaken, but I have the other two on my wall along with my PhD. I have to admit, those records, plus a buck, would get me a cup of coffee at McDonalds (with the Sr Discount) and not much more. But I am proud of my studies. And again, more music nerd than academically trained in music. grin
I can’t comment on the debate regarding the 6th . . . way beyond my pay grade but maybe someday . . . if I'm lucky smile

However, I do have to agree that we’ve all been polite, professional and relatively focused on the subject(s) at hand.

If I pull the camera back and zoom out, this thread is mainly about Levitin’s book, This is Your Brain on Music. Secondarily, and right now, it’s about the fascinating musical relationship between Joni’s ambiguous chords and Jaco’s skill in dis-ambiguating them. And now, the idea of what a chord is, what are ambiguous chords and other music theory elements. And the path of this thread may even take more twists and turns . . . it’s all good and my hope is that we all learn (and share) and that we remain friends. The more I read, the more I see that music is infinite and infinitely fascinating.

Dr Dan, as for your credentials, my instincts told me you had some but I had no idea they were as distinguished as they are. Ten short years ago I couldn’t tell you the difference between F and F# or quarter note from a half note. I also agree that there should be no reason whatsoever that discussing music theory should drive anyone crazy. That said, I’m sure we all have something of value to share and I hope you share more. I also hope I’m not the only one here seeking to grow musically.

Also, let’s not forget the young, talented, educated musicians that are lurking and pondering whether to support this forum and BiaB. The depths of our discussions here, how we conduct ourselves and the (perceived and real) value of BiaB will determine the size of the user base for years to come.

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