@BenBurgis I mean, yeah, that whole trilogy but especially that one!
Archives: Tweets
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@mythopoetica *(Unless you’re manipulating tuning in a DAW or something, which you can do, but…)
I get the vague sense a lot of MIDI gear does something similar with basic harmony. You can get around it, but it’s probably harder with just pads or a touchscreen interface. @mythopoetica Because it makes sense most people see default simplification as a benefit, not a flaw; a non-traditional interface like touchscreen that wasn’t limited in this would produce what sounds like garbage to most people.
But modify the parameters and you get a really cool tool.
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@mythopoetica Yep, I’m not even sure how it works, the pad, but I am curious. My hesitation is a bit like piano: powerful tool, but I’d have to really learn how to use it well if I wanted to avoid being locked into one or another musical system. @mythopoetica I mean, a bit like how the piano keyboard sort of locks you into the equal tempered 12-tone system. (Amazing pianists can mess with that, by playing with harmony in a way that messes with listeners’ perceptions, say, but for most it’s kind of a way of being locked in.*)
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This panel last night was fascinating! And it’s available now for those who weren’t around and would like to see it! (Same link.) twitter.com/futureconsf/st…
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@mythopoetica Yeah, I only got a little combo keyboard + drum pads thing. Can’t afford the touchpad and I’m not sure I’m interested for now, but it is pretty interesting. The Kaoss Pad thing also looks interesting. (Like here: https://t.co/UIeMT69NFk )
But probably a little square for me. @mythopoetica (Meaning, I find often these pads are good for a certain kind of tonal pattern and loop. I’m trying to break out of looping structures a little, or at least into approaching them differently, so…)
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Oh, man. That’s… wow. twitter.com/donmoyn/status…
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This is really good. Read it! twitter.com/MarissaLingen/…
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@mythopoetica That’s the advantage of jazz theory training: augmented and diminished chords aren’t harder to deal with for a horn player, really, you just have slightly different targets to hit as you weave through them. Octatonic scale time! Woo hoo! @mythopoetica But the cutting edge theory the cool kids (like Jacob Collier, say) are messing with these days is next-next level. Like, “Hey, let’s mess with different forms of tuning temperament as a mood-enhancing effect on the opening of this song.”
Er. Wow. New technologies!
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@mythopoetica Hm, theory’s… well, I came from a (probably low-)intermediate level of jazz theory to four part harmony and was lost. “What do you mean I can’t use Dorian mode and dominant 7th chords? What do you mean tritones are bad? They’re amazing and chewy!” And figured bass? WTF. @mythopoetica But I seem to have figured out enough to fake out some not-horrible four part harmony, I’m learning, as I notate some old compositions. (Program Eliot’s Music for Murder in the Cathedral, actually.)
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@mythopoetica That’s even more interesting! For me, composing was something mostly that happened “under the hood.” I’m largely aphantastic, and started out also as the musical equivalent of that, unable to really hear much in the way of music in my head. I can do melodies now, but not harmony— @mythopoetica —at least not really. So all my composing was sort of working out as externalization whatever the hell was forming in some part of my brain not consciously accessible to me? Like… ideas were there, but I encountered them for the first time as I worked them out externally.
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@mythopoetica Ha, all those sharps are a horror! Damned violinists love those sharps, though. 🙁
If you think scales are unfun now, wait till you’re playing them in ascending sixths, or even worse patterns! 🙂 @mythopoetica That said, one way to make them more interesting is to focus on tiny details. I’m a wind player, so I was about to say “tone” but articulation is also good. Like, varying articulation patterns in a sequence: two slur followed by two staccato…
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@JustinHowe To be clear, absolutely nothing against gay bars or people (at all); I’m just irked by the immediate assumption by some that anyone who isn’t Korean is in Itaewon and clubbing every weekend and is thus a vector for COVID-19. @JustinHowe I know you know that, but… Twitter being what it is.
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Interesting panel on now!
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Ooof, I mean to post this before the first panel, but… it’s been one of those days.
It’s on now.
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@JustinHowe And I’m sure people would insist that you caught it at a gay bar in Itaewon anyway. @JustinHowe (And then start demanding stricter protocols to prevent “Low Quality Foreigners” from spreading COVID here.)
(And… okay, I’ll stop. I’m having one of those days where the scent of 개저씨 is in the air no matter what I do.)
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? Absolutely gorgeous song (and video) by Dhruv Visvanath, and a beam of warm sunshine at a moment when it’s needed all over. tmblr.co/ZwA1ltYyQCjJGa…
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And yes, yes, pandemic, I know. But the obvious answer to that is that during pandemics, we solve the dangers of public transit with more support for telework, not more cars. (Cars don’t reduce exposure in workplaces, eateries, etc.) Not slamming everyone who owns a car, btw—just the idiotic fantasy that more ways of making cars the default answer to everything is the solution to everything. Like, maybe the guy who wants to sell you cars is the wrong person to get advice from on this?
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All the people who are saying, “But subways” miss the point: How will people be able to maintain their identities without access to a car at all times when outside their homes?
? https://t.co/KVx0RcInjt Oh, and: I got my first car at age 41, when we moved to the “countryside” and were expecting a baby. It was actually a necessity at that point. Most of my adult life, I had no car. It was fine, because there were… subways and buses. Oh, and a sense of civic responsibility.
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The really horrifying part is how far past “this is unthinkable” we’ve gone. Now it’s not just not-unthinkable, it’s downright not-surprising-at-all. How many other countries would have been sanctioned all to hell if they tried this kind of thing? I don’t know enough to know how other OECD countries could pressure the US into, you know, not becoming Nazi Germany, but I think it’s pretty clear that, like polarization, tolerating this stuff legitimizes it & hastens its spread more throughout the rest of the world.
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What horrifies me is how little I’m surprised by allegations of a “uterus collector” doctor operating in the USA’s concentrations camps* for undocumented immigrants.
(*Let’s call them what they are, folks.)
https://t.co/1jV5SDYKmT Oh, and no, you cannot say, “It’s just a bad apple” when your entire system is build on stocking the barrels with apples without any precautions against bad ones getting in—or, indeed, when you knowingly keep bad apples in barrels and try to silence those who talk about them.
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RT @JustinHowe: If you’re a weird horror fan then you want this. twitter.com/wickedmilkhote…
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@FelicityGS Yeah, his review of Musescore is also a bit critical but he’s right that it’s WAY more useable by a new user.
Entering more wild avant-garde stuff is hard, but I think it always is in notation software.
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Is this gut bustingly funny to non-musicians? I’m curious. (I was laughing my guts out it at a moment ago, mostly in the last few minutes.)