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I've been away from this forum for years, but I'm back because of this question. Now, since I've been away, I've collected even more books on learning Jazz Guitar, all with little effect. I still struggle when it comes to improvisation and trying to develop anything that sounds remotely like a "jazz style." My improvisation origins were with the blues and I suppose they will always predominate. Years spent playing classical guitar has allowed me much more freedom of expression -- I can now insert scale passages and arpeggios into my improvs with relative ease.
But playing over numerous changes I still find to be a big challenge. I've read ad nauseum about tonal centers and the like, and honestly, my eyes start to glaze over. I mean, I get it, in principle. Stay with the tones in that chord's key when playing against that chord, etc. But I find that this doesn't always works as well as I think it should, and I think now that it is because of the predominant influence of the key the piece is written in. Certain sounds are still expected, even if playing a chord that doesn't belong in that key. Like a modulation from A major (the key of) to an F major 7th, for example. The two keys aren't even closely related, although the FM7 shares a couple of notes with A major, which I think end up helping out a lot. But the F chord is closely related to A Minor. Which is where this thought began to take shape.
What I've done today is take the chord progression to a piece I've written -- a rather complex progression with a lot of modulations -- and lay out which of the chords fit, more or less, into it in terms of Major or Minor. This isn't really a jazz piece, it's written in more of a sort of laid back pop style, I suppose. But because of its complexity, I'm thinking that some sort of jazz approach is best for attempting to solo above the progression. It's written in A Major, so what I did was, I decided which of the chords in its progression were more closely associated with A Major and which with A Minor. And then, as I attempted to improvise over this progression, I paid attention to whether I should be playing in A Major or A Minor, with one exception -- A Mixolydian. There were various sections where the major third and flat seven worked well. But you know what? It's working, pretty much. Of course, there are the inevitable accidentals that one must still deal with. Like a D#7b5 or a Bb9 -- still need to pay attention to them against chords like these. But at least, to me, I've simplified things where I'm no longer having to chase individual keys all over the place when I'm trying to play something that sounds halfway intelligible.
So, to you jazz purists, is this oversimplification, or can you see how it might just work for a person who's at least getting started?
Last edited by cooltouch; 01-06-2020 at 02:41 PM.
Oversimplification? I don't know, actually sounds like a lot of thinking to me.
There's a lot of ways to navigate a tune. I guess for me personally, I'm always looking for ways to simplify complicated progressions...but I'm also looking for ways to add options to simple progressions.
One of the first points of attack would simply to look at a song and see which chords are diatonic, and which ones aren't, and address those "oddballs" with care. But that gets boring kind of quick.
Generally, I think of jazz as music of "movements." There's points of tension and points of rest. Identifying the points of rest is key...and they don't even have to be the same every time thorough the form. Over the movements of tension, you can pretty much play anything that "pulls" to the rest point. And depending on what your ears hear as "okay," there's different answers for that too.
There's also idioms within jazz. There's an expected way to play in certain style that doesn't necessarily carry over into others...always something to think about.
This could be a very cool discussion, thanks for starting it.
Might I suggest you post the progression and how you are approaching it piece by piece?
There are endless ways.
Stick to "pitch collections" based off the major scale and add accidentals as needed like Jimmy Bruno.
Stick to mostly dominant scale playing like Barry Harris.
Stick to playing out of chord shapes.
Stick to arpeggios and chord tones as your guide.
Stick to minor scales.
Stick to playing completely by ear.
Stick to triads.
Mix all of it.
Who knows.
Corpse, your response is the sort of thing that makes my eyes glaze over. Where to start, where to start. And Jeff, since this isn't really a jazz piece, I dunno if any of your ideas apply. I'm just reasoning that a jazz philosophy of improvisation might be the best approach toward soloing over the changes.
Speaking of changes, Corpse, since you ask, you'll find them below. As for how I approach it, well, you should understand that this is still a new piece of music to me. I wrote it only a few days ago and I'm still working on the melody. So I've been listening to it, more or less non-stop, for two days now, trying to internalize it, but it ain't easy. That's why I hit on the Major Minor thing. But it still means I have to closely follow the music so that I'm staying up with the changes. I might not be focusing so much on the names of the chords now, but I still have to be aware of my place in the music so I know which mode to be in. I'm hopeful that I will eventually reach the point where I know exactly the characteristic of the sequence at any given point, and will know how to handle it.
C#m7 F#7b9 Bm7 E7
AM9 C#7 DM7 Dm69
AM9 A9/G F#7sus4 B11b5/F
F#m7/E D#7b5 D11 Bb9
AM7 C13 FM9 Gadd9
D11 Bb9 B11b5 C#7
DM9 Dm11 AM9 F#m7
FM7 C13 BbM9 AM9
FM7 BbM7 G7/B AM9
(c) Copyright Cooltouch Publishing, all rights reserved
Last edited by cooltouch; 01-06-2020 at 02:41 PM.
For someone beginning what? This thread or?
This ain't my first rodeo. I just added a sig with a link to my music up at SoundCloud. My Album "In the Know" contains what I rather euphemistically refer to as my jazz pieces. As I mentioned above, I don't claim to be a jazz player.
I've collected enough work for at least two more albums. Some of it will fall loosely within the genre of Smooth Jazz, but I don't have any straight up jazz pieces I've worked up -- so far. I'm currently about halfway through the arrangement process and I hope to start posting some of the music up to SoundCloud within the next couple of weeks. This piece, I'll let you know when I've posted it.
Originally Posted by cooltouch
Are you thinking that:
- chords have keys ("tones in that chord's key")?
- a progression chord change to a chord that doesn't share those same "tones in that chord's key" is "a chord that doesn't belong in that key"?
- a chord change to "a chord that doesn't belong in that key" is a modulation?
- for a song in A major with lots of complex chord changes you can improvise with only ideas that stem from tonic A?
I think before any further discussion you must clarify if this is how you are thinking.
I might not approach it too differently than I would a jazz tune, really. It would depend on the style and listener expectations, too. What is the style? Is it slow? Fast?
And yes, the melody would help.
You've got a lot of chords there. A lot of the #'s after them, for improv purposes, are superflouous. It also reads to me as a "you're using specific voicings" kinda thing...is that right? That matters too.
Can you do a quick "strum through" video or recording just to get the idea across?
OK, it appears that I really need to post an example of this piece. So I've put together an MP3 of it, which contains:
2 choruses
1 chorus
It is just the accompaniment -- no melody yet. Tempo is 110 bpm. I'll be the first to admit -- the mix still needs some tweaking, so you'll have to look past its issues.
Last edited by cooltouch; 01-06-2020 at 07:30 PM.
Originally Posted by cooltouch
Your song is beautiful! and indicates a very high level of musical grasp, and I better understand why you are asking about finding melody or improvisation ideas. Because of some of the chord changes (I like them!), a melody is definitely going to take some rare or unusual turns and twists. I think there are some melody ideas already in the piano voicing - the upper lines and the upper notes of the chords... maybe try to find the voicing lines within the chords that express the changes without being too obvious or angular, compare them for how they sound and the mood you want to convey.
Canonical Jazz Theory is going to touch almost none of what you have - I think composing a melody and developing improvisation strategies would generally need to be done by ear.
Jeff, Hmmm indeed. I'm getting the same result on my phone, although it plays fine on my computer. I think I know what the problem might be. I set the sound quality to "highest." I've had similar problems when I set .jpg image files to "highest" image quality. When I turned them down a notch, then they would open. So I'll try the same thing with this mp3, turning it down a notch, just to make sure anyone can hear it. I'll try out on my phone also, just to be sure.
I'm away from my computer so give me a bit.
Paul, thanks for the kind words. I agree with much of what you wrote. I hear snatches of melody as I listen and I'm hoping they solidify the more I listen. So far I've gotten down about 16 bars I like but the bridge has me a bit frazzled. Your suggestion about analyzing the keyboard parts is a good one and bears examination. Maybe that'll get me unstuck and help some with the remainder of the chorus.
I view the compositional process differently from improv, although often I find improv to be an aid. I need to feel comfortable with a progression so that my improvisational thoughts flow freely, else I find I resort to hackneyed licks that seldom fit well. I'm afraid I'm still at the hackneyed level with this piece so far.
I agree about the bridge. Often, I've found, however, that it can be a real challenge coming up with a bridge that is a complete departure. But ideally that's what it should be. Or at least that's typically what happens when you look at most modern pop music that has a bridge. Something to keep in mind . . .
The way it is right now, it's just an aaba song form. Except the "b" section is 8 bars shorter than the "a" section.
I'm stumped as to why the .mp3 won't open. I can't get it to open on my phone, but my computer plays it just fine. I bumped the quality down a couple of pegs, but I left the bit rate at 256. I wonder if I turn the bit rate down some? I'll give that a try.
Last edited by cooltouch; 01-06-2020 at 07:36 PM.
Originally Posted by cooltouch
A Augmented Scale-an amazing hexatonic (6 tone scale
A C C# E F Ab (scale tones of A maj--1 b3 3 5 #5 M7)
wait now..there is an A Major .triad and Ma7 and A minor triad
Fmaj triad &(Maj7) and Fmi triad
C#maj triad (and maj7) and C#mi7 triad
so now you see how A Maj and F maj can not only blend with each other but are both in a six tone scale..
now mix and match these six triads and other chords and play around with them and you will discover some amazing improv line jump out at you..(you may hear some Coltrane changes)
you may also find some ways to use some of the Melodic minor chords and arps based on the Minor chords from the AUG scale
read up on this scale and its many applications it is a good source for improv material
and of course when you get you feet wet with this kind of thing..the minor chords can be used in many formats -- as the one minor...dorian minor.. phrygian minor...aolian minor...and the Harmonic and melodic minors..and synthetic minor scales
Originally Posted by wolflen
Sounds impressive. I've been playing around with it some. Definitely has an "oriental" flavor to it, doesn't it. I've figured out a two-octave scale fingering in A, starting on the 12th fret, 5th string, (actually the 11th fret if I start on a g#), winding up with the turn-around on the 17th fret. The fingering reminds me of the sort of pattern I've used in many classical pieces I've played.
Here's try number three at my .mp3. I've bumped the bit rate down to 192. I hope that does the trick. Nope. My phone still won't open it. Oh well, I tried.
Last edited by cooltouch; 01-06-2020 at 08:03 PM.
..."...Heh, that'd be me! Honestly I've never even thought about using an augmented scale. That's a very strange sequence of intervals. No 2nd, no 4th, but two 3rds and two 5ths. Whew, that'll take some getting used to. The only one I've ever messed around with has been based on the augmented major triad...."
well then...another secret of the scale..every note in the scale can be the root of an augmented triad !!
Thank you...I enjoyed your music..reminded me of several composers ,,Vangelis..being one..and some of todays players that are on soft jazz statiions
Not sure if this helps but I'm going back to a little bit of theory. When you mention the dominant F I think right away of a Bb major. A dominant chord is just asking for resolution. For me the question is then how to get from and AM to a Bb major, which is a theoretically simple shift up of half a note. I think it's called a parallel chord but you hear it quite often in pop songs when the chorus is repeated one whole note higher for increased " anthemic" effect. To make a fool express this change you could repeat a line literally half a note up. From the Bb to Dm you're in the same scale but depending on the general feel you may start a line on the D to remind the listeners that you have shifted the emphasis on the scale by moving to the Dm. Same for the Cm. for me the F dominant remains the big influence in pulling you to the Bb and giving its sound extra weight as the key of the song. I guess that's why they call dominant chords dominant.
Curious if a theory buff is going to slap me round the ears for this...
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Eck, I follow what you're saying, but it doesn't really apply here. In my above discussion I was referring to an F major 7th, not a dominant 7th. In fact, there are no F7 chords anywhere in the entire piece. There aren't even any F chords with dominant harmonies (9th, 11th, 13th). I count three FM7s and two Fm7s.
I remember reading quite some time ago that a dominant chord can resolve to any other dominant chord. It may not be the smoothest transition, but it appears doable. However, knowing this, I reasoned that it is probably not all that big of a jump to have a dominant chord resolve anywhere, and you know what, it often works and can have a nice effect. That's why you'll see in this piece a few chords with dominant harmonies not resolving in a V-I fashion. I like the sound created by this sort of unexpected change.
Oops I missed that! Anyway I reckon the theory basically tries to explain why and how we hear things. And that informs which notes to emphasise. But then I don't think Billy Holiday or Beethoven was taught this stuff.
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I think many problems come from the fact that the key/functional tonality system - being borrowed from classical - is not used in jazz as it is used in classical.
If we look at alsmot any - even realtively simple - classical piece we will see that modulations are the moments of form. That means that key relations were meaningful...
It was like a cathedral where you have proportions and different elments of the whole building. It is the whole thing.
In jazz it is applied more like 'bricks' without seeing overall picture... because this is often the cocept of jazz playing... and it leads to frustration and misunderstandings.
Sorry for this general overview...
And one practial idea. You know what I thought about when I saw this post with changes I qoute below... I thought: I would love to see/hear a melody.
Melody is personifcation or any harmonic solution. Harmony is always a general thing.
(It works at least within European tradition).
Could it be that frustration and attempts to find some other solutions in the case that you describe come from the fact that we often 'construct changes' instead of 'composing a melody'.
Note that I do not mean a simplicity of a melody! I don't mean: write a recognizable pop-tune. It can be very sophisticated melodic idea.
I believe that even complex classical symphonies - good ones - are based on ability to melodicize the idea, to express all the complex movement of artictic ideas in melodic thinking.
(And again it is not about pop attractiveness of a tune which is common for pop songs)
Basically I am almost sure that great composers thought in terms of melody as the harmony already was incorporated in their hearing to such an extent that they did not need to refer to it conciously.
I am saying this becasue I beliee that any kind problem with organization of impro through changes - be it simple standard tune or complex moder changes - is directly connected with that: harmony has no melodicpersonification in players mind.
C#m7 F#7b9 Bm7 E7
AM9 C#7 DM7 Dm69
AM9 A9/G F#7sus4 B11b5/F
F#m7/E D#7b5 D11 Bb9
AM7 C13 FM9 Gadd9
D11 Bb9 B11b5 C#7
DM9 Dm11 AM9 F#m7
FM7 C13 BbM9 AM9
FM7 BbM7 G7/B AM9
Jonah, I like what you say but will need some time to get it. Is it that modulations in classical music are heard as relating to the key where in jazz the key shifts with the progression?
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Originally Posted by Eck
If you look at the prime period of functional tonality (high baroque and classicism) you will see that keys and functions make a biig system - like a universe.
Tonic is total stability (that is owhy in classical only one chord can be tonic), Dominant is the oppostite of it but the tesnion is so much that it is always very close both to resolution to tonic (stay in the key) and break up with (modulate). Subdominant is something in between.
If you take Bach's suite dance or Mozartz's symphony's movemnet - or part of Vivalsi's concerto - you will that there is an overall tonality setup... mostly it is about being in Tonic Key - then it is about finding its way to Dominant key - then it is getting unstable roaming around Subdominant and then returning to Tonic key (not chords - keys!!!).
It is about general modulations. These modulations are always marked with cadences.
The key change was so important that Hayd and sometimes Mozart could use the same melody as secondary theme just after mosulation to Dominant key... all the difference was in a key (that is why if one does not hear the modulation one does not understand the music - for him it will sound as a repeat).
The same concerns baroque music. Here is famous Vivaldi's Largo.
Many people today think that at 01:00 the repeat begins but it is not a repeat it is another section becasue it is a different key. There was a modulation before that for Vivaldi's contemporaries was ovbious but may stay unnoticed to modern average listner who hears only melody or motive.
Those are very simple examples - imagine what is going on in one hour long symphonies. THey are like novels.
Besides they can be more tricky ways to use it combining it with different types of cadence and resolutions which can help to express very complex meanings.
Here's Locatelli's C minor concerto movement (1st piece)
We have the same conception as with Vivaldi --- what seems a repeat at 0:40 is new section in a new key... that section moves through many deceptive 'modulations' - those are not real modulations but rather are 'deviations' that brings in very perplexed meaning and emotion.
At about 01:50 it returns to the original key but what hapens? The key returns with intruded cadence - the end and the beginning coincide and also you can notice that the intro - or brief prelude (decending minor arpeggio is not there -- as it was - -- now it show up at the end of the piece making it a conlusion).
Basically the form is exactly the same as with the Vivaldi's Largo but treated in an expanded - and very subtle - way.
The most interesting thing is how composers do that - how they move from one to another.... and there is a philosophy about it.
Imagine the idea of T-S-D as functions that describeld above... and how and where and why Dominant becomes a Tonic that creates its own relationships.... there is huge potential behind this systen to express the subtles ideas.
It is similar to planetary system where every planet can be a part one system and creating its own center - it is all about movement and force and tension... it can make extremely complex and vivid system. (This where the late Romantic 19th century symphony came to at the end of it all) .
In jazz all this just does not exist mostly --- only in original form standard songs - like modulations between chorus and bridge...
Mostly key change in jazz is just a local shift of tonal centre to create a tool for further movement - lit does not consider overall form of the piece.
Sorry for going too much into detalis.. I would not be surprised if you let it pass by)))
Originally Posted by Eck
If you look at the prime period of functional tonality (high baroque and classicism) you will see that keys and functions make a biig system - like a universe.
Tonic is total stability (that is owhy in classical only one chord can be tonic), Dominant is the oppostite of it but the tesnion is so much that it is always very close both to resolution to tonic (stay in the key) and break up with (modulate). Subdominant is something in between.
If you take Bach's suite dance or Mozartz's symphony's movemnet - or part of Vivalsi's concerto - you will that there is an overall tonality setup... mostly it is about being in Tonic Key - then it is about finding its way to Dominant key - then it is getting unstable roaming around Subdominant and then returning to Tonic key (not chords - keys!!!).
It is about general modulations. These modulations are always marked with cadences.
The key change was so important that Hayd and sometimes Mozart could use the same melody as secondary theme just after mosulation to Dominant key... all the difference was in a key (that is why if one does not hear the modulation one does not understand the music - for him it will sound as a repeat).
The same concerns baroque music. Here is famous Vivaldi's Largo.
Many people today think that at 01:00 the repeat begins but it is not a repeat it is another section becasue it is a different key. There was a modulation before that for Vivaldi's contemporaries was ovbious but may stay unnoticed to modern average listner who hears only melody or motive.
Those are very simple examples - imagine what is going on in one hour long symphonies. THey are like novels.
Besides they can be more tricky ways to use it combining it with different types of cadence and resolutions which can help to express very complex meanings.
Here's Locatelli's C minor concerto movement (1st piece)
We have the same conception as with Vivaldi --- what seems a repeat at 0:40 is new section in a new key... that section moves through many deceptive 'modulations' - those are not real modulations but rather are 'deviations' that brings in very perplexed meaning and emotion.
At about 01:50 it returns to the original key but what hapens? The key returns with intruded cadence - the end and the beginning coincide and also you can notice that the intro - or brief prelude (decending minor arpeggio is not there -- as it was - -- now it show up at the end of the piece making it a conlusion).
Basically the form is exactly the same as with the Vivaldi's Largo but treated in an expanded - and very subtle - way.
The most interesting thing is how composers do that - how they move from one to another.... and there is a philosophy about it.
Imagine the idea of T-S-D as functions that describeld above... and how and where and why Dominant becomes a Tonic that creates its own relationships.... there is huge potential behind this systen to express the subtles ideas.
It is similar to planetary system where every planet can be a part one system and creating its own center - it is all about movement and force and tension... it can make extremely complex and vivid system. (This where the late Romantic 19th century symphony came to at the end of it all) .
In jazz all this just does not exist mostly --- only in original form standard songs - like modulations between chorus and bridge...
Mostly key change in jazz is just a local shift of tonal centre to create a tool for further movement - lit does not consider overall form of the piece.
Sorry for going too much into detalis.. I would not be surprised if you let it pass by)))
Originally Posted by Jonah
Originally Posted by Jonah
Jonah, you wanted to see/hear a melody. Well I can provide a sound file now. If you like I can send you a copy of the score, so you can read through it. I've spent the last few days on some additional arrangements and writing a melody to this piece. I don't consider what I have now to be the final form of the piece. Anything can be subject to change if I find something I like more. But this is what I have so far. I've rendered another mp3. My phone still won't open it, but my computer does without issues.
Evening Stroll Final.mp3
One thing I noticed pretty much right away after adding a melody to this piece was how it managed to shove the harmony into the background, where it was no longer playing such a dominant role. I was kinda surprised by this. To me, that means it's doing its job.
In case you're interested in this piece's structure, it's in a rather conventional aaba format. Two choruses, a bridge with a half time tempo shift (from 110 bpm to 55 bpm), then back to the original tempo for a final chorus.
Originally Posted by cooltouch
I listened to the track and I need some time to answer, so please do not think I ingnored that. I just want to do it properly.
I will come back later today or tomorrow.
I look forward to your response. I think it bears repeating that the melody right now is pretty much v1.0, and subject to change. Especially in the bridge section.
it is not that simple to formulate.
You see I come from classical background, I grew up with classical music and rock music like The Beatles and something similar.
To me it all belongs to the same tradition... and that tradition trained my ear and made it some sort of natural musical enviroment for me.
And I believe this tradition has that specific harmony/melody relationship which I described above. Where almost any melody contains information about posssible harmonies behind, and any harmonic setup is potential source for melodies.
But in musical relaization it is always melody that has priority, harmony is only possiblities, a fundamental plan.
Like if you take many renaissance churches which have more or less similar structure but their peronality shows up in the 'melodies' - in how it was finally realized in real material and design.
That means that both harmony and melody are extremle important but it is almost impossible in taht tradition that 'music starts from composing harmony' -- harmonic plasn - yes maybe, some harmonic ideas - also possible.. but not real music...
Harmony is too general, it just does not bring in enough individual information.
But things change - that great tradition I seem to relate to is almost totally gone and we live in teh world where there are lots of different approaches --- last years (even decades but I noticed it only last years) I noticed that searches and composing music in pure harmonic thinking show up quite often.
I have a friend who does it as you say - from chords and harmonies and I alwys have problems with hos music to be honest..
Partly it was in academic music too - in American minimalism (which I often have problem with too)...
What I am trying to say is when I listened to your track I heard it more as ambient music or backing track and it does not surprise me that there on might need some supportive system to somehow relate these harmonies one with anoither...
Though basic harmony sounds quite traditional to me... I still feel like the choices are a bit arbitrary to me.
I mean it sounds like if you change this or that chord for something there is a chance i would not have noticed that...
The same concerns melody - even more probably... I myself am very sensitive to intonation and phrasing.
You know recently there was an interesting case - I gave a lesson and the guy had to pick a melody of "My One And Only Love".. and the who is playing rock musician and who composes quite interesting songs could not pick up the beginning ascending pentatonic phrase correctly.
He could not catch that G (in C major) and tried to begin with C... to me it is compination of a few reasons (he tried to imitate pickup cliche phrasing too)- but the most important is that he hears the overall chord (C major) and for him G or C sound the same.
There is some truth in it... for him (in his musical world) harmonic sound sound has such a strong priority that both G and C can represent it in melodic sense - the difference is insignificant.
But the problem was that this song was written in the tradition where this difference is important.
With your tune my problem is I am trying instinctively to look for realtions and details that are not supposed to be there.
I want to stress that it is only my hearing. I can understand quite well taht for you and some other people that could sound very strongly individual.
I don't know about anyone else but I find it quite difficult to define what a key is.
in GASB standards the melody is very firmly on one key, frequently diatonic with maybe with a modulation or two. For instance, Stella moves to the dominant and the parallel minor briefly.
of course no one thinks that way when soloing on it, because the tune is harmonised with a lot of chromatic chords, and we have to play the changes...
jazz musicians when writing tend to go chords out (because that's the way they improvise mostly). So then, things are very different.
Also this is an analysis and pedagogy thing, and the way jazz is taught:
for instance Lester Young on Lady be Good is clearly mostly thinking in the key G major with blue notes and so on, but you can find analyses which detail each interval over each chord as it was a Bill Evans solo or something.
Even modern musicians use key centric thinking more than you might expect. Miles was the sort of big comeback for that type of thinking in the 50s. Sco when asked about how to solo on Protocol said he thought if it as a sort of 'Weird G blues' not of chords at all.
But, in general, jazz has moved away from melodic key centred soloing and composition, and towards chordal thinking.
but yes I'm getting sucked back
in haha
Only 15 posts since you left the forum, you're being very restrained.
Very interesting, guys. I'm deeply intrigued by the way you process your music. Jonah, I was fascinated by your description of this fellow who had trouble distinguishing between a C and G in C Major. One would think that anyone who comes from a Western music background could distinguish between the tonic and the dominant. But I think one has to examine a person's individual musical background if one hopes to understand how such a situation can arise.
Most of my formal education is actually in Linguistics (BA and MA from Cal State Fullerton), and this reminds me of how a person, who's native language does not contain certain phonemes, or whose native language contains phonemes that are allophones of each other, can't distinguish between them. It's a matter of one literally not being able to hear the foreign phoneme or can't distinguish between a pair because they're allophones. Sorry about tossing about these linguistics terms. A brief set of definitions is in order. A phoneme is a perceived speech sound that a given language contains. Such as /a/ or /s/, etc. Allophone pairs are pairs of phonemes that, under certain phonemic rules, sound the same to the speaker. For example, in Taiwanese, the /l/ and /n/ are allophones in certain circumstances. In both British and American English, the glottal stop and the /t/ are allophones in certain situations. Using a double apostrophe to indicate the glottal, you'll hear in some British dialects the word 'bottle' pronounced as /bo''l/ and in American English, you often hear 'football' pronounced as /fu''bal/ ("short u", not "long u"). We don't consciously hear the substitution that's made.
So I find myself drawing a parallel between this linguistic condition and this fellow's inability to distinguish the C and G, and I can't help but wonder if, in his musical language, the two tones are musical allophones. If something like that even exists, that is. I suppose it can. I can remember my early schooling, which was in music, and how we would have ear training drills. And how, when we first started out, I had trouble picking out the individual notes in a simple chord when my professor would play it on the piano. It took practice, but eventually I was able to dissect fairly complex chords. After a while, 11ths and 13ths, half-diminished and augmented chords, etc., were a piece of cake. But it took practice.
Getting back to the topic for the moment, though, I've been thinking about this some more these past couple of days, and I've gone back and analyzed a few of my own compositions to see if I can piece together my thought processes when I wrote them. And in a few cases, I definitely had a melody rattling around inside my head that I got down on paper (or plugged into my DAW) to which I was able to harmonize. But in a number of other instances, I wrote out a chord progression in its entirety, massaged it until I was satisfied with the changes, and only then did I begin to work on a melody. Now, perhaps in some of these pieces, the melody does not rate anything better than "background music," but I really don't think that's the case with most of them. My attitude is this: if I've written a good, solid chord progression, there should be an infinite variety of quality melodies that I should be able to extract from it. I've done this on more than one occasion, that is, writing multiple melodies for a given chord progression -- melodies that show absolutely no relationship to each other. In fact, in a couple of situations, I developed different musical styles for each melody and went ahead and named them as separate songs -- or piece of music, if you will, since they are instrumentals, and songs have words.
I'm also very aware of historical context. Take the infamous Pachelbel's Canon, for example. How many hundreds of songs have been written on this canon's chord progression, many of which were major hits? It seems to me that just this one instance indicates how critically important a solid chord progression is, in order to develop a memorable piece of music. Whereas, if one creates a memorable melody -- that's it. That's the only piece of music that exists with that grouping of phrases and chords, since the melody is sorta the final expression of basic creative output. (I write 'basic' because I'm neglecting any sort of arrangements that may add flourishes and the like to a piece to spruce it up, so to speak.) The melody locks a piece into place -- certainly melodically, and, to some extent, harmonically. Although I'm always intrigued with the way a good arranger can alter a piece's chord progression, often for the better. Musical examples such as "Amazing Grace" and "Somewhere Over the Rainbow" are great examples of this.
So it would appear to me that, in the final analysis, both approaches are correct, since they both can lead to memorable pieces of music. Which is ultimately what it's all about. Right?
One would think that anyone who comes from a Western music background could distinguish between the tonic and the dominant. But I think one has to examine a person's individual musical background if one hopes to understand how such a situation can arise
It is important that it was in context of just a C major - the chord was tonic, and C and G were just a root and 5th of the chord... so he heard a chordal sound as a mass and for him both sounds 'represented' the chord.
You know it is like I can hear very quickly difference between Haydn and Mozart but poeple less involved into it hear both just like the representatives of the same style.
The way we percieve and distinguish things is really important.
A bit of phylosophy: it may sound strange but I always focus on things in some subject that are different from other subjects, not the things in common.
I notice people tend to find things in common first.
Of course dialectically we always generalize but I understand that it is just a convention (not truth).
Because I believe through difference we can understnd deeper the individuality, and percieveing individuality teaches us to respect it.
'Things in common' lead to the point whne everything can be anything. By the way this one of the things in music (and especially in jazz) that I like - anything can be anything in the context but the context is the artistic choice we make. We - as musicians - appoint the sounds or chords what they would be.
Last edited by Jonah; 01-15-2020 at 07:03 AM.
Originally Posted by Eck
But say in Day of Wine and Roses, or Tenderly, or Autumn in New York, or Along Came Betty interpreting the the non diatonic chords as modulation is not specially useful. Tension and release interpretation could work for both diatonic dominant tonic movements and both for non diatonic events.
Last edited by Gabor; 01-15-2020 at 05:45 AM.
Originally Posted by Gabor
I think I can add... I noticed that national 'classical schools' have a bit different terminology and aproach to teaching and analysis.... after baroque period music became almost totally German... this is more or less still living tradition and probably the only link with great pre-classical traditions... we can of course speak about Berloz, Verdi, Puccini, Elgar, Debussy and others but they were eeither too specific like Italian opera vera or impressionists or also rooted in German school fundamentally like Grieg, Sibelius and Russian chool (except Musorgsky).
When I was at school we had two terms 'modulation' and 'deviation' - obviously borrowd from German... modulation mostly meant that there was at least too cadences to the new key: first is more soft and was there to introduce new kew, and the second one was stronger to establish it. It is too formal of course - in every case it could be a bit different...
'Deviation' meant any - even slightest appearance of new key... for example it could be in one sentence that it starts in major and shifts in relative minor even of a measure or just two beats... if it is C major - the move to A minor chord through any inversion of E major would mean deviation even if it just flies by for 1 beat and goes back to C...
In jazz harmony it of course often makes no sense..
Though on the other hand sometimes I appreciate how classical hearing helps me to hear standards as a whole form immidiately, how I can appreciate 'compositional' merits of the songs - not just their poetenstial as changes or motives...
Even My One And Only Love mentioned above has interesting beginning... it has pentatonic ascending line that sounds like a 'pickup' line - it sounds as if it goes in a bar that is precedent ot the main section of the form but if we look at harmony it is not like that, the section is already begun.
The line goes from tonic I chord to IV chord subdominant - only there it stabilizes...
That creates some kind of littly plymetric (polysemantic) effect/shift - we do not notice it conciously even but we feel it - and pentatonic move increases it -- actually I think it is where it comes from
(by the way I think this is another reason why my student friend could not pick it - he tried to imitate regular diatonic asending pickup line going from dominant to tonic chord).
Some time ago I made a post about Autumn In New York - also trying to approach it as a song with form not as standard with chords... occasionally I did in some thread something similar with Bye-bye Blackbird... In many songs I like to notice the relation of chorus-bridge (often chorus is stable and more individual, and bridge is modulating and more conventional - less recognizable , but sometimes it si quite the opposite like in Darn That Dream or Sophisticated Lady and bridge brings in the feel of relax and release)
I like to analyze what the meaning of section is - how it affects out perception - is there an intro? or maybe an intro is integrated into teh section?
Stella By Statlight seems like a 'AABA' in disguise - but still it is not AABA... very subtle case.
and Cole Porter's 'I Love You' seem a bit similar but still different form.
By the way I mostly think of AABA as of AB where sections have different beginnings but similar engings. I think from pov of form it is more productive to see it that way... in AABA secod A is not quite a repeat (even if technically it is) it is rather a conclusion (the repeat in teh form is something you can throw away without much problems for overall efect - but here you cannot do it!)
I think all these songs as original compositions have very interesting subtle features that can help improvizers, what tricks the author uses, how he decieves our excepections - and how we can use it?. But I noticed it does not evoke much interest in jazz enviroment... people are mostly focused on how to play around chords or changes and sometimes in separate motive and intervals/
It seems like in classical music the chords look back/forward to the key-chord, whereas in jazz a chord mostly looks at which chords is before and after it?
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subset: commoncrawl


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The Royal Sovereign RCD-1000 Ultraviolet Counterfeit Detector provides a compact and portable counterfeit detection solution for businesses and organisations in the constant fight against fake bank notes and IDs. The UV rays easily detect fake notes and ID cards by revealing fluorescent strips, dots, and other markings that are invisible to the naked eye. This also comes with a UV detection guide that will show what markings to look for in authentic bills.
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Clematis 'Taiga'
Clematis hybrid 'Tiaga'
2017 Chelsea Flower Show winner!
- Genus: Clematis
- Species: hybrid
- Variety: 'Tiaga'
- Item Form: 1-Quart
- Zone: 7 - 9
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- Resistance: Disease Resistant, Pest Resistant
- Soil Tolerance: Normal, loamy
- Uses: Ornamental, Vines and Climbers
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This new clematis is unlike any you have ever seen! 'Tiaga' has two toned bold purple and creamy white flowers with unique inwardly curved sepals. It was first introduced at the 2017 Chelsea Flower Show and you can own this award winner! This vine does great in the south and also works fabulously in a container with support, an incredible addition to your porch or deck! With blooms as wide as 6'' there will be no shortage of awe when guests of your garden see these show stopping bright purple and cream flowers. Clematis are a garden favorite that are hardy bloomers that only get better as the years go by. They are a breeze to grow and prune, simply cut back the stems to just above ground level at the seasons end. 'Taiga' is a hardy climber that will trail up any fence, mailbox, arbor or wherever you want to enjoy these uniquely colorful blooms.


text:
57 VotesYes55.88%
25 VotesNo24.51%
20 VotesDon't have opinion19.61%
(Togo First) - Lomé-based pan-African carrier Asky Airlines will start serving Cape Verde next April 1, Ecofin Agency reports.
The corresponding line will travel from Lomé to Praia, via Dakar. There will be three weekly flights to the destination (Monday, Wednesday and Saturday) using a 168-seat Boeing 737-800, offering 12 seats in business class and 156 seats in economy class.
Cape Verde will thus become the 21st African destination that Asky serves, from Lomé.
Let's recall the company which started operations almost a decade ago (2010) has the largest network in West and Central Africa, covering 23 cities across twenty (20) African countries. Ethiopian Airlines detains 40% of the group.
Ayi Renaud Dossavi


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Users of both solutions will benefit from streamlined workflows, updated contact data, and comprehensive account intelligence from within the Bullhorn platform.
Vancouver, Wash. – June 1, 2016 – DiscoverOrg, the leader in human-verified sales intelligence, has announced today the official launch of the Bullhorn Edition of its CRM application. Sitting natively within Bullhorn's relationship management platform, the new integration enables users of both solutions to identify and access key contacts at target accounts, understand the reporting structure and current projects surrounding deals, and update existing contact data with verified information without leaving Bullhorn.
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text:
Just got caught up on The Rolling Girls. God damn this is the best episode so far, and that's saying something.
Why isn't this show getting enough recognition?
Because what you think is good might not be the same thing other people consider good
You must be a genius
The entire anime is webm bait
I heard it's "the thinking man's K-On." Is there any truth to this?
Hibikeeps it real
The two aren't really comparable
So Satan watches K-On and Rolling Grils
This show has so much heart and so much youthful pleasure that would brings a smile to anyone's face. It's criminal how under appreciated this show is.
K-on has a budget and bigger teats.
Rollin' grills is pretty much designed by women who don't seem to give a fuck that their outdated taste in punkrock maymays will flop hard.
Most people sticked to A\Z
>Why isn't this show getting enough recognition
it's shit
That's your opinion and I respect that, but it's a shitty opinion
It was ridiculously awesome. I really hope the last couple episodes live up to the hype that's been building up in the last few.
Yeah it's good but the whole she's alien thing is going to be the downfall of this show. It's going to try and explain everything about the stones, her mom and her mom's plans; then it's gonna fall flat on its face.
It's good at being nonsensical fun with good animation and great OST.
Yeah it's giving me flashbacks from the very stupid twist that KLK had, which almost made me drop the show immediately. I'm praying they doesn't take themselves too seriously and it works out fine.
Have they gotten their moonstones and superpowers yet? If so then I'll pick it up again
I almost dropped it on this dumb pipsqueak's arc. It seriously pissed me off that such an evil character can have such a cute character design. She deserved to be thrown in jail.
And then I actually dropped it after watching thus dumb as shit character asshole it up in the next arc.
I may pick this up when the proper subs get caught up, but I really do not enjoy the show. I found that I was only watching it out of habit, and that the OP was better than the actual anime.
yeah really, show's been too slow and with characters too boring to keep my attention
>No fucking idea what the character is saying because of the stupid revving sound effect they use
That's the joke
You can insinuate what he's saying anyway from the characters' reactions
No, it's not the joke, otherwise there would have been no subtitles in the Japanese broadcast.
Because majority of people have shit taste.
Rolling Girls is the thinking man's K-On!.
Jo. It is the joke. The japanese just can't help but explain every joke they have because they're retarded like that. They entire shows based on that concept.
And KnK killed Monogatari
I prefer the racing arc. At least the girls really did something there.
I never thought it was possible for a person who watches subtitled shows every day to not understand the purpose of subtitles. If you had watched Commie's sub (just mentioning them because they're the only group that took the time to translate the Japanese subtitles for this character), then you would not say that you could "insinuate what he's saying anyway from the characters' reactions."
>If you had watched Commie's sub (just mentioning them because they're the only group that took the time to translate the Japanese subtitles for this character)
Cthune (Cthuko/caffiene) did as well
How did Kara no Kyoukai kill Monogatari?
The point stands. There was no running gag about not being able to understand what the character was saying. It as an oversight on Funimation's part, and then Senketsu didn't follow through by actually looking at the TV raws.
You're funny anon
I am enjoying this way more than anything in the past year, and I do find it a little bizarre how many people have found it too boring. Granted episode 3 was the weakest episode and that probably lost most people. There's a good chance it'll be my AOTY. Its a real feel-good show.
shouldn't you wait for the rest of the year to actually finish first
It's pretty good, I enjoy it thoroughly.
>Rolling, Falling, Scrambling Girls. For others. For themselves. Even if they're destined to be a "mob"
the point is that they never get their stones
how is 'the thinking man'?
I said there's a good chance, not that it's a done deal; this show does feel pretty special to me, though.
This is definitely my AOTS, possibly my AOTY.
I can agree, this show has got me absolutely hooked. The music, the scenery, the art, story; loving all of it. OP has been in my head for a few days. Definitely a contender for my AOTY.
muh fucking sides man.
you guys are too much.
I like the show a lot, faggot.
do you like dicks a whole lot too
Only a little.
They have stones on the cover of Chiaya's book, anon.
They'll get their stones one they promise to be friends forever and keep helping people.
They don't control the video they're given
They subbed what they had
>mfw Death Parade and Yuri Kuma are more popular than Rolling Girls
I don't get what this guy wanted to do
reunite the two girls by threatening to destroy one of their houses?
...without questioning.
Exactly. They are idiot drones and they produce an inferior product.
what's your point
He wanted to make a badass fireworks show... which he did.
Geisha hired him to get them back together, he went over the top with it because he was extremely bored
Nice comma splice Funi
Just wondering, but is this what actual kansai dialect is like?
Just from listening to a couple comparison videos I think so. At least definitely the whole leaving out vowels part.
English teacher here. You are an idiot.
this is Kyoto dialect which is Kansai but with slightly different dialect tics
>English teacher
Go ahead and prove it
How do you expect me to do that?
well you could at least tell him why it's not a comma splice
it's cute as fuck
I get a boner everytime the geisha says anything
Because comma splice implies that the comma is misused, which it is not.
What if the character spoke with slightly improper grammar that warranted a comma splice? Not every speaks with proper grammar 24/7.
What if that's the not the case?
There are implied words in the English language. The implied word was 'that' which was denoted by a comma.
"I told you, I was killing time." flows better than "I told you that I was killing time" in spoken form.
>speaking commas
Hayami Saori and Kyoto-ben was a great casting call.
I loved ep 1 and 2. The rest up to now were ranging between decent enough to good. Last episode went to shit with the introduction of ayylmao. I really hope she isn't really an alien
You're explaining it wrong because you're an idiot apparently.
The fact that they were even given a version without subtitles at the bottom of the screen shows that the original version is one where you can't understand what he's saying.
The station this aired on in Japan gave it subtitles, not the people who made it.
>Because comma splice implies that the comma is misused
What? It means using a comma to join two independent clauses. Did you fail English I or something?
Do you never use the Siri function on your iPhone to write texts?
What if it was funi missing quotation marks? Still a comma splice?
I didn't say anything about speaking commas. A comma usually indicates a pause, and a pause could necessitate a comma.
>The station this aired on in Japan gave it subtitles, not the people who made it.
This implies that what the character said was comprehensible to native speakers, which it was not.
This, OP. It's a shit show.
You know what flows better than both of those? "I told you I was killing time."
>It means using a comma to join two independent clauses.
Which is a misuse of the comma...
Are you fucking with me, or did I really need to say that to make you understand?
>quotation marks
Many commas are purely stylistic, such as the comma that separates the month and date from the year.
You said it wasn't a misuse of the comma.
>Because comma splice implies that the comma is misused, which it is not.
>which it is not
It implies that someone at the station requested a transcript for subtitles and not much else.
Uh-huh.... I still don't see where you're going with this, unless you think that the string of words, "I told you that," constitutes a complete, stand-alone sentence in English.
>I really hope she isn't really an alien
She's turned into an octopus like three times
You have absolutely no evidence to support that claim that you pulled directly out of your asshole.
I don't.
Nah, you need the 'that' to announce you are making a preposition, thus not having to independent clauses.
'I was killing time' belongs to the word 'that'. You can shorten the sentence by turning the 'that' into a comma, but you cannot get rid of it while keeping it as one sentence.
Scenes like these are when you can declare a show AOTS and Rolling Girls has them every two episodes.
Commas are used in poetic, dramatic, lyrical and non-standard english to indicate a brief pause in spoken dialogue, usually where one takes a breath, pauses for effect, or attempts to create a rhythm, to the cadence of their speech.
It is grammatically correct to use commas to indicate these things when writing a script intended as dialogue spoken allowed, and is considered an instruction to the speaker. This extends to subtitles, as the subtitles themselves are a script indicating both the diction and manner of speech.
In standard grammatical english, a comma does not indicate a pause whatsoever, which is a common misconception. The 2 uses are separate and distinct.
That application of a comma is denoting separate entries to a list, which is a valid use of a comma in standard grammatical English.
Stones > Train-Train > III TEEEEEENKI DAAAA
I dropped this show because it was going nowhere, did I miss something important? besides colorful battles.
Every odd episode is introductions, every even episode is spectacular.
friends getting into a fight
Then I'm at a loss for how to handle you. Go play in traffic.
You don't have a good understanding of the language that you need to use to explain this.
It's actually common sense.
Funimation didn't have a version with subtitles so it's not part of the original episode. It's not like they've taken Japanese subtitles out of things before, especially not for streaming.
It's not part of the original episode, so that leaves it up to either the station requesting subtitles, or WIT hates Funimation. This isn't hard.
I guess I don't. Thanks for the link, anon.
>only english audiences get to see the original episode
Your brain is diseased.
Does anyone know if there are tracklists out for the new CDs? I have a feeling Stones won't be on the Song Collection "Eiyu ni Akogarete" thing.
Also what the fuck is this cardboard shit? It's not even the same height as normal CD cases.
Why does Funi always have to play around with the color saturation? If it isn't too dark it's almost tumblr-tier.
When do these officially release?
>I can't argue with you so let me just insult you
Granted you've been doing that the whole time but..
More like the Japanese are just more considerate to their audience. Or Funimation didn't think to ask because they thought "oh this is a joke". You have no argument other then that this means something to you for some reason.
Don't act like ORIGINAL EPISODE means something sacred in this instance either. You're really reaching with that. It's just subtitles added by the station.
If you want to be taken seriously, then show me facts. Don't just pull bullshit out of your ass and then claim, "it's common sense so you should just believe me."
There is a soundtrack out on March 18 and a song collection with five covers of Blue Hearts songs out on April 1. I can't figure out if "Stones" will be on the song collection or if there will eventually be another CD.
official soundtrack comes out on 3/18, it only has the background stuff and not the insert songs
the rest of the insert songs should be out on April 1st which is just a little bit after the show ends
Linda Linda or we riot
well the first theme song collection had
>Hito ni Yasashiku
>Tsuki no Bakugeki
>1000 no Violin
and after that, in insert songs we have had
>Eiyuu ni Akogarete
>Train Train
So that's 4 out of 5, which leaves us Linda Linda for the last song.
Then again, Stones is an anime original so it does leave the question if it gets a separate release or not. It's not on the OST list that's for sure.
Also if anyone else is interested about all these songs, you can check the pastebin
ohright, there was Sharara too but that was instrumental. I would love a proper cover though.
I just got confused because all the descriptions for the song collection say
>Song collection CD from anime series "Rolling Girls" features five insert songs sung by The Rolling Girls, which are covers of songs by THE BLUE HEARTS.
And Stones is an original, right?
Stones is indeed an original but written by another rock band vocalist which I can't recall right now.
Also if we follow the pattern of new insert song every two episodes, then we would have to remove Stones from the list. So we just have to wait and see. Stones is the song I want the most though.
I am so ready for this. I really like how this anime is kinda like like a string of music videos. Why, if I had the know how or the long term interest I would make AMV's of each arc set to the song that played in them.


text:
Like sheep we follow Ignoring the other's cries Till they come for us After this past week, I fear (even more than I did before) for the survival of our democracy. When we allow the president to act outside the law, how can we claim to be a nation of laws. When we actively persecute… Continue reading like sheep
Category: History
Lightner Museum in St. Augustine: Through the Looking Glass and into a Wonderland?
Looking to escape the worst of a summer that will not end, we decided to head north; hoping that four hours of drive time would translate into at least twice that much in degree difference. Spoiler alert: It didn't! Hit with a short-span heat wave that coincided directly with our trip, it was sweltering. Ugh.… Continue reading Lightner Museum in St. Augustine: Through the Looking Glass and into a Wonderland?
on adverbs and outrage
truly, madly, deeply … a song truly, madly, deeply … a movie (with Alan Rickman!) truly, madly, deeply … a partial list of adverbs to be avoided if you want to be a "real" writer (according to conventional "wisdom") truly, madly, deeply … a partial list of adverbs that inadequately qualify and/or modify how truly,… Continue reading on adverbs and outrage
Her Silent Secrets
It had been sixty years since she had stood on that pathway but her mind struggled to contain the same flood of emotions she had felt on that last night. Fear. Shame. Anger. Grief. Such bottomless grief. Emotions unleashed unwanted memories They shouldn't have done it. They had no right. She didn't belong to… Continue reading Her Silent Secrets
Women: We Get Things Done
Between the sell/buy/move chaos and my current haiku obsession I've neglected to share links for some of the stuff I've been doing for my day-job. I may go back to some prior months in the days to come, but for today I'm going to stick to this month's work, which (somewhat ironically) means I'm stepping… Continue reading Women: We Get Things Done
Dearest John
May 30, 1893 Dearest John. It finally arrived. I was scared that it wouldn't get here in time for your birthday but it came on the train yesterday. Daddy will be angry but there's nothing he can do about it now. When I saw our names together I fell to my knees. I love you… Continue reading Dearest John
buon viaggio*
It happened every time. It was like a gift that kept on giving. It had been more than fifty years but every time Peter saw the damn thing it felt like yesterday. He could still feel the shame of that moment. Susan knew this. But she still insisted they all go to the Ringling Museum… Continue reading buon viaggio*
Harpers Ferry: Destiny Calls
Daddy used to make me listen to the speech. I'd pretend to be bored but I always got goosebumps when he'd exclaim "to mingle my blood further with the blood of my children, and with the blood of millions in this slave country." It reminded me I'm not just any Brown. His blood runs in… Continue reading Harpers Ferry: Destiny Calls
The Final Scavenger Hunt
This was it. The trail ended here. Back at grand-dad's old place. Not sure how he managed it from his sick-bed but it was just like him. A final hunt. Pit us against each other. Bastard. He's probably watching. From hell. Laughing. Enough with the reminiscing. I needed to find that key. What was that… Continue reading The Final Scavenger Hunt
Finally! It's the Road Trip Epilogue
It's been over a week since we returned home and I'm finally finding the time and energy to write my last entry for the epic ROAD TRIP. If you missed the first three editions, you can find them here Calling All Boots and here Two Days Before Dawn and here Alarm Bells I'll wait why you check them out… Continue reading Finally! It's the Road Trip Epilogue


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BA (Hons) in Marketing Management
Offered by: Asia Pacific University of Technology & Innovation (APU)
Ask About This Course
Enquiry Was Successfully SentThank you for using Studymalaysia's Course Enquiry system. Your enquiry will be attended to shortly.
Please check your e-mail for a reply from us or the institution. Do quote the Ticket Number (e.g. #54820994) when corresponding with us. Thank you.
|Exam Body
|APU Malaysia Degree
|Course Duration
|3 years
|Part Time/Full Time
|Full Time
|School of Business, Management, Marketing, Media, Tourism & International Relations
|Conducted entirely in Malaysia
|Awarding Country
|Level of Study
|Bachelor's Degree Level
|Field of Study
|Business Management & Administration
|Course Description
This programme is specifically designed to provide:
This programme is specifically designed to provide:
Level 1 comprises 10 common modules within all management awards. The Legal, Business Environment and Computing & IT in the Workplace modules provide a context within which businesses operate.
The Business & Communications Skills and Introduction to Services Management modules provide the skills and competence that will be used throughout the programme. You are then introduced to the four principal functions of a business - Management, Marketing, People Management and Accounting. Important and relevant skills for
Common Modules
In addition to the above, all students are also required to successfully complete General Studies modules as stipulated by the Malaysian Qualification Agency, as well as fulfill credit requirements for Co-Curricular Activities.
The emphasis is on Marketing and Customer Value Delivery alongside the more practical issues of managing for enterprise, performance and problem-solving.
Marketing is developed through studies of Information (Research and Advertising), Electronic Marketing (Interactive Marketing & E-Marketing) and an understanding of Customer Relations and of Creativity & Innovation.
Common Modules
Specialised Modules
INTERNSHIP (16 weeks)
After the completion of Level 2 students will undertake a short Internship/Industrial Training. This will prepare them for a smooth transition from the classroom to the world of Marketing Management.
The emphasis is on Marketing strategy and decision-making alongside further issues of managing for enterprise, performance and problem-solving. Central to your studies is the consideration of exciting new opportunities to develop New Products and to be able to develop effective Marketing Communications which integrate the wide array of media available. Brand Management and the consideration of Customer Relationships explore the competitive advantage which can be exploited by proper use of such intangibles. The application of Marketing in various growth sectors is also considered through modules in Retail Marketing and Marketing People, Places and Performance.
The Project further develops the academic and practical aspects of your chosen area of study in Marketing Management and reinforces your independent learning skills.
Specialised Modules
MOHE Compulsory Subjects
|Entry Requirements
|Intake Months
|25 Feb 2020 / 28 Apr 2020 / 22 Sep 2020
|Career Prospects
Any area of general business but more likely in marketing research, brand management, sales promotions & advertising, retail management, distribution management, sales and sales management, customer service and customer relationship management.
All fees are in RM (Ringgit Malaysia) currency unless stated otherwise.
Other Courses in this Level of Study Other Courses in this Field of Study


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Reasons Why You Should Hire Highly Professional Air Duct Cleaning Services
Air ducts are very important assets at home with some functions to fulfill. They keep the flows of the atmosphere moving as the temperature is controlled. Doing this will ensure that your home will be in the safest condition ever with no dumpy conditions. On normal occasions, a lot of substances settle on the ducts and other ventilation places. Poor air quality results to other breathing conditions and infections of the throat. This demands that you keep the circulation of the air in the appropriate condition. Remember not all people are qualified in doing the cleaning. You need to hire a professional air duct cleaning service that has been experienced in the service. This assures you that you will not be disappointed. These are the importance of hiring such experienced individuals for the air duct cleaning service and be assured that they will do a marvelous job.
It saves you a lot of energy in the end. Your body also finds rest in the entire process. When the ducts are well cleaned, it means that the air can easily flow within them. In the end, the energy systems will have spent lesser energy, and it will give you the best service. This can be termed to be very energy efficient.
It will give you an opportunity to get the very best services in the end, and your work will be thorough than any other. They have been exposed to this role for a long time, and so they know the specific places where to handle. They are not the kind that will do the service sluggishly but are committed to delivering the best of best by whatever means. For those ducts that need to be cleaned thoroughly, these are the kind of people to call for the services.
The air flowing and circulating in your house is the best and highly fresh. It reduces the number of unwanted substances flowing in the house. It reduces the chances of getting some respiration diseases or any other breathing problems. You will be safe from any form of allergies by all means. When the air quality is high, you are less fearful of getting any infections related to air.
In summary, if you want to enjoy the coolness of your house, it will be good for you to get in touch with the right individuals who are qualified for air duct cleaning.
How to Achieve Maximum Success with Cleaning


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What is MAGic Solution?
MAGic Solution helps to launch a full-featured IPTV/OTT project in the shortest terms and at minimum costs.
Who needs it?
IPTV/OTT startups
who are willing to launch an interactive TV service within shortest terms and at minimum expense
Cable operators
who are planning to grow their revenues by means of up-to-date interactive TV and multiscreen
who are willing to implement modern interactive TV services to boost ARPU
MAGic Solution Components
- MAGic Solution includes all necessary components for quick and easy launch of IPTV/OTT/VOD service excluding HeadEnd or any other equipment or software for a content reception.
- The Ministra TV platform for management and maintenance of OTT/IPTV/VOD infrastructures
- Up-to-date high-performance MAG set-top boxes
- Apps for mobile devices (Android, iOS) and Smart TVs
- Real time TV streams transcoding and video content streaming solution provided by third parties
- System installation and configuration on a turnkey basis
- Technical support with required SLA
Comprehensive solution
- MAG Set-Top Boxes meet all broadband operators' technical requirements while being very user friendly.
- The Ministra TV platform supports the operation and management of IPTV/OTT/VOD services. The microservice architecture and the module's open code allow for hassle-free maintenance and customization.
- Infomir experts install and set up transcoding and streaming solutions provided by our partners, ensuring system operability and reliability. This platform may be easily scaled later.
Minimal investments
To start offering your services you should invest only:
- To run equipment with the required hardware and software configurations
- To own or to be licensed for a content distribution
- To order set-top boxes and apps
Easy, transparent and quick!
MAGic Solution may be delivered as a "turnkey" system by Infomir experts. With servers and content ready, services can be up
- The Ministra TV platform meets all OTT/IPTV system requirements and support: EPG, VoD, deferred viewing, recording onto external media, karaoke, games, weather forecasts, and much more.
- The Ministra TV platform enable operator to resolve administrative issues, publish scheduled content, and flexible to form service packages.
- MAGic Solution allows creating both IPTV and OTT service.
Сomprehensive setup
The system is based on open source technologies which allow making changes according to customer's demands. The system allows integration with third parties applications (e.g. OSS/BSS, CRM, etc.) and adding new interface languages.


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By Matt Ellis
Earth Day is a great time for the AffinEco companies to remind people that green cleaning not only keeps the planet healthier; it also keeps the people who work in office buildings healthier. This year, United Services of America took part in two local Earth Day events on behalf of clients GE Capital and Cartus.
Sam Rodriguez and Jorge Jimenez greeted visitors at the United Services information table and explained how the AffinEco companies utilize state-of-the-art green cleaning products and procedures in all the buildings they service.
"We were delighted that United Services could join us and display their Earth-friendly products this year," said Linda Sonner, Facilities Manager at Cartus, which marked 10 years of Earth Day events in 2013. "Thank you for helping us gain support for sustainable practices and developing Earth-friendly values."
It's estimated 12% of work-related asthma cases are attributed to the use of harsh chemicals in the workplace. According to United Services President Paul Senecal, events like these are an important opportunity to educate the employees who work in the buildings United serves.
"When we can explain how the products we use help alleviate allergies and provide a healthier work environment, we find people really appreciate knowing. It's good for us and for our customers," said Senecal.
"We are thrilled that United Services is using green cleaning materials and techniques wherever possible, which is making our work areas fresher, cleaner and more free of allergens and toxins. Thank you for all that you are doing to help make GE Capital Treasury a safe and clean place in which to work," said William Adler, Communications Leader for GE Capital Treasury and long-time client of United Services.


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SUMMER is here and so as ASME's summer events
American Society of Mechanical Engineering Ontario Section cordially invites you to
ASME Vintage Cars & Planes Tour event on August 11th 2013 ( 1.00 PM-3.00PM).
Brief Info about the Museum
Displayed is a collection of Canadian military aircraft, many in flying condition. The museum is also restoring several Second World War and Cold War aircraft, including a TBM Avenger a de Havilland Canada built S-2 Tracker and a Bristol Bolingbroke. The flying collection performs at air shows and is made available for local flights by museum visitors.
The Avro Lancaster flown by the museum is one of only two airworthy Lancasters in the world. Known as the Mynarski Memorial Lancaster in honour of Pilot Officer Andrew Charles Mynarski, it is painted in the markings of his aircraft. An Ontario Historical Plaque near the entrance commemorates Eileen Vollick's role in Ontario's heritage as Canada's first licensed female pilot.
Bring your family and friends for a Sunday afternoon fun filed event. This event is open to all ages. After the game , ASME would also like you join us at BBQ organized by the Museum authorities ( this part of the event is exclusive of the event )
For more information or questions, please contact
Member Recruitment Officer, Satwick Sharma at firstname.lastname@example.com
Past Events >


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Patient Resource Cancer Guide, 13th Edition, Winter 2019, is a valuable resource for newly diagnosed or restaged cancer patients and their loved ones. The comprehensive guide explores many cancer types and available treatment options, along with helpful information regarding common side effects, genetic testing and more. Anal cancer survivor and actress Marcia Cross shares her story to help bring awareness to the disease and offers practical tips for anal cancer thrivers in treatment. Other survivors share their hopeful stories, and a complete list of treatment centers and financial assistance organizations in the U.S. is included.
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Triple Negative Breast Cancer, Fourth Edition, offers an overview of this subtype of breast cancer that tests negative for estrogen and progesterone receptors and the HER2 receptor. Options for treating this type of breast cancer, including a tutorial about how to search for a clinical trial, are included, along with helpful articles about emotional and physical side effect management and the importance of self-care. A survivor emphasizes the value of being confident with your care team, and a fully vetted list of related resources is included.
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Chronic Lymphocytic Leukemia, Third Edition, provides patients and their loved ones with details about diagnosis, staging and treatment options. Informative sections offer insight about living with CLL and the importance of medication adherence. A survivor shares his story, and a helpful medication tracking tool is available online for download. Advocacy and financial resources are also included.
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Guest Seminar – Arvid Bring – Bolin Centre for Climate Research
Seminar series Climate & Society: Climate and conflicts
Arvid Bring
Researcher at the Department of Physical Geography and the Bolin Centre for Climate Research, Stockholm University.
Seminar series Climate & Society: Climate and conflicts
Does climate play a role in conflicts, and how can we find out? In this seminar, Arvid Bring will present an overview of the research on how climate relates to social events, in particular conflicts. He will also discuss the popular perception of coming "water wars" in a warmer climate.
About Arvid Bring
"Water is a link between many current environmental issues. Future changes in the water cycle and how water is used may strongly affect both the environment and society in many parts of the world. In my research, I study interactions between water and climate, with an emphasis on water information and its role as a basis for policy decisions."
Time and Place
Tuesday, October 3rd 2017, 11.15
Rossbysalen C609, Arrhenius Laboratory, 6th floor
(This event has taken place.)
Last updated:
October 4, 2017
Source: MISU