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Topic: What about music is on your mind right now?
(Read 27196 times)

longhorn320 · « **Reply #42 on:** August 04, 2025, 01:27:50 AM »

Quote from: FearlessF on August 03, 2025, 08:08:41 PM

don't encourage him

Quiet Farmer or I'll post the Green Acres theme in your honor

FearlessF · « **Reply #43 on:** August 04, 2025, 08:23:29 AM »

posting TV theme songs will get quite ugly quickly

Mr Tulip · « **Reply #44 on:** August 04, 2025, 09:34:49 AM »

Whenever we see the 5/4 time signature, we start getting the vapors.
It's usually "felt" as exactly this "dash, dash, dot, dot" that the performer describes. Two dotted quarter notes followed by two straight quarters. Since it's usually occurring in jazz anyhow, where note values are more or less subjective, it sort of has a built-in swinging groove.

utee94 · « **Reply #45 on:** October 08, 2025, 10:31:19 AM »

Hey @MikeDeTiger and @Mr Tulip -- what do y'all think about the new drummer Rush is going to use for their upcoming tour?

MikeDeTiger · « **Reply #46 on:** October 08, 2025, 11:49:55 AM »

I think I've been mispronouncing her name for years.

I've seen her on YouTube for I don't know how long. This has been the first time I've ever heard someone pronounce her name.

She's a completely different beast than Neil Peart, but she's very skillful and excels in odd time signatures, which will serve her well in Rush's music.

I expect her to keep only the "necessary" portions of Peart's drum parts and the rest of the time to kind of do her own thing. Either way, I think she'll fit right in with them, though some hardcore Peart/Rush fans might not like the differences. Personally, I think one of the worst things bands can do is to try to replace a member and direct the replacement to do their best to duplicate the original. It usually works so much better when the band accepts the fact that things will change, they'll sound different, and just let another person do their own thing.

That said, she's steeped in Rush-adjacent prog-rock and so while I expect her to introduce a lot of her own parts, it's not like she's going to be a a totally different genre of drummer than Peart was.

Mr Tulip · « **Reply #47 on:** October 08, 2025, 02:07:50 PM »

To be honest, Rush going on tour was news to me. Of course, I've always appreciated their talent, and there's a handful of songs I'll listen to, but I never really sought them out for long term listening.

While of course there's gonna be naysayers when you follow a legend, I'm glad they're keeping it going. Nope, it's not gonna sound like Neil, nor should it even try. Each musician has a voice. A pretty good imitation of The Professor isn't The Professor.

Most of my heroes are self-taught. The reason why the recording sounds "right" is that's how they played it on that take so it became the definitive version. I think Hendrix one time quipped, "Man, these guys are obsessed! They even copy my mistakes!".

MikeDeTiger · « **Reply #48 on:** November 05, 2025, 02:06:30 PM »

Quote from: Mr Tulip on November 05, 2025, 01:40:52 PM

Nope. You're absolutely right. That's not a nerdy quibble a'tall! Whole and half-steps have meaning, and I mis-stated.
An understandable, but inexcusable mistake! =)
Now about the fact that a "perfect fourth" is considered a dissonant interval...

Welp, because that other group of nerds think us group of nerds should confine our music talk to here, I've moved the conversation here for continuation.
A perfect fourth does have a sort of dissonance, I suppose, relative to the key you're in/your root note. In the key of C, if you have any sort of C chord where C is your root, F, as the perfect 4th, does create a bit of tension. But it's really subjective, in that it's just the inverse of perfect 5th going the other way. i.e., C is the perfect 5th of F, so it really depends on the context it's used whether or not we hear those two notes, that interval, and perceive dissonance. The fact the two tones play well with each other in any context is probably why the perfect 4th is used in "suspended" chords so often, which provides the opportunity to drop that 4th down to the 3rd and "resolve" the sound. The 4th has some tension, but it's not ugly. "Dissonant" might be a harsh word for that interval.
Now, go up one half-step from the perfect 4th to the tri-tone, and buddy, you got yourself some ugly dissonance.* Like a C root with an F#, for example.

* Well.....the metal guys have gotten tons of mileage out of it, but I think there's a reason why that interval works so well for aggressive music whose entire ethos, lyrics, and vibes, is angst and dissonance.

Mr Tulip · « **Reply #49 on:** **Today** at 09:10:09 AM »

So I had to satisfy myself on this topic. My son is currently enrolled in his first Music Theory class as a vocal performance major, so these discussions occur in my house frequently nowadays.

Turns out, we can't really talk about consonance and dissonance in absolute terms. They only make sense contextually. A "G-C-E" chord sounds just fine on its own, and would be considered consonant. It could be an inverted major C. In another context, say with an F in the bass either real or implied in the cadence, it could be a vii7 flavor that creates dissonance and must be resolved.

He's reaching the part in Music Theory that I don't walk around knowing. Kinda like mathematical matrix operations like eigenvectors and such, I know they exist, and mostly what they're for, but I'll need to look up how to do it if I have to.

MikeDeTiger · « **Reply #50 on:** **Today** at 09:24:45 AM »

Welp, I'm jealous. If I had a son, that kind of stuff is one of the many conversations I'd enjoy the hell out of having with him.

What you're relaying about what he says about consonance and dissonance in absolute terms is exactly what I was referencing earlier. If you have an F-major chord with a C in it, you won't even blink, it sounds so nice. If you have a C-major chord with an F in it, you might find yourself thinking "That's nice, but there's some tension that needs to be resolved." Well, okay, I realize that a C-major chord would not technically have an F in it, so I should just say a C chord of some sort, but you get the idea.

Same two notes. Different contexts make your brain think different things about how they sound together. Weird, huh?

Then consider how some power-hungry bass player can change everything you think about what you're hearing without the permission of a single other band member. The guitarist, pianist, cow-bellist, everybody....can play a C-major chord with C, E, and G, and think they're safe. But no, a rogue bass player could decide to hit an A, and suddenly all anyone can hear is an Am7 chord, despite the best efforts of the rest of the band.

Bass players are bastards like that.

utee94 · « **Reply #51 on:** **Today** at 09:34:07 AM »

https://www.youtube.com/watch?v=ttEMYvpoR-k

MikeDeTiger · « **Reply #52 on:** **Today** at 12:18:10 PM »

Cohen wrote a total of 7 verses to that song, near as I can figure, thought he never recorded or performed them all at once. He released a second version some years after the first, but with Jeff Buckley popularizing the omitted ones in his cover in the meantime, leading some to think Buckley wrote different verses, which he did not.

I don't know if the above is Cohen's first or second version, but it has 4 verses, with three missing ones. I know Michael McDonald covered that song with only the 3 verses missing here, so without looking it up, I'm guessing utee posted the "original" and the "other one" must be the so-called "Buckley" version.

Mr Tulip · « **Reply #53 on:** **Today** at 12:27:30 PM »

Quote from: MikeDeTiger on Today at 09:24:45 AM

Welp, I'm jealous. If I had a son, that kind of stuff is one of the many conversations I'd enjoy the hell out of having with him.

What you're relaying about what he says about consonance and dissonance in absolute terms is exactly what I was referencing earlier. If you have an F-major chord with a C in it, you won't even blink, it sounds so nice. If you have a C-major chord with an F in it, you might find yourself thinking "That's nice, but there's some tension that needs to be resolved." Well, okay, I realize that a C-major chord would not technically have an F in it, so I should just say a C chord of some sort, but you get the idea.

Same two notes. Different contexts make your brain think different things about how they sound together. Weird, huh?

Then consider how some power-hungry bass player can change everything you think about what you're hearing without the permission of a single other band member. The guitarist, pianist, cow-bellist, everybody....can play a C-major chord with C, E, and G, and think they're safe. But no, a rogue bass player could decide to hit an A, and suddenly all anyone can hear is an Am7 chord, despite the best efforts of the rest of the band.

Bass players are bastards like that.

The oddest place that ever came up was during my stint in a handbell choir. As you might expect, there's a limited range of handbells. I usually got the big-arsed "buckets" at the end - the ones that get made out of aluminum instead of brass. Of course, these are expensive and limited. As such, there were many times I'd have access to one bell, but not the bottom note in the chord.

We'd have to decide how the line should run, since by not playing the fundamental note in the bass, I'd invert or redefine the chord exactly as you described. Sometimes, suddenly not playing the end of the run wouldn't be pleasing.

Psychoacoustics are fun!

utee94 · « **Reply #54 on:** **Today** at 12:30:22 PM »

Quote from: MikeDeTiger on Today at 12:18:10 PM

Cohen wrote a total of 7 verses to that song, near as I can figure, thought he never recorded or performed them all at once. He released a second version some years after the first, but with Jeff Buckley popularizing the omitted ones in his cover in the meantime, leading some to think Buckley wrote different verses, which he did not.

I don't know if the above is Cohen's first or second version, but it has 4 verses, with three missing ones. I know Michael McDonald covered that song with only the 3 verses missing here, so without looking it up, I'm guessing utee posted the "original" and the "other one" must be the so-called "Buckley" version.

I did not know most of that, but I searched for the one that said "officiall" on it. There were several live versions available as well.

I just posted it because it talks about the "secret chord" and references chord progression.

Mr Tulip · « **Reply #55 on:** **Today** at 12:34:44 PM »

Cohen himself claimed that he wrote around 150 verses to the song. Obviously most of them were never recorded.

Early in his career, he had a high, nasal voice and sang songs that brought to mind that scene in "Animal House" where Bluto smashes the folk singer's guitar. His career took off when he became the dark, brooding baritone bass guy.

https://www.youtube.com/watch?v=svitEEpI07E&list=RDsvitEEpI07E&start_radio=1

then

https://www.youtube.com/watch?v=-MlR6tFh8Gs&list=RD-MlR6tFh8Gs&start_radio=1

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Topic: What about music is on your mind right now?

longhorn320

Re: What about music is on your mind right now?

FearlessF

Re: What about music is on your mind right now?

Mr Tulip

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utee94

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MikeDeTiger

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Mr Tulip

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MikeDeTiger

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Mr Tulip

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MikeDeTiger

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utee94

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MikeDeTiger

Re: What about music is on your mind right now?

Mr Tulip

Re: What about music is on your mind right now?

utee94

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Mr Tulip

Re: What about music is on your mind right now?