#chord substitutions

[guitarguitarworld]

Jazz Fusion Alternate Picking Guitar Exercise Analysis

Hi Guys, As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy] VIDEO OF THE EXERCISE: Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to: EXERCISE ANALYSIS: PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate…

[claratyler]

this is hell

[avocadosockz]

learning tummy hurts on guitar for no reason other than my own happiness (definitely not because what if reneé needs another half filipino lesbian to play the guitar for her)

[claimedcrossbows]

Served! Sanji x Fem!reader

Slight anime spoilers/foreshadowing.

This is OPLA Sanji though.

-

You were laid down in your quarters trying to keep the vomit down after you had been sick the entire night. Your head was killing you and you were simply not ready for whatever chaos was happening downstairs, but you had a kitchen to run, so you slowly got dressed, and slowly made your way downstairs to absolute anarchy.

“Y/n! We’re out of crawfish and it’s tonight's specials!” Your little sister says immediately approaching you.

“How did we run out of crawfish?” You groaned.

“Rasha forgot to order more and the nearest port ship is still a day away.” She explains frantically.

“Substitute it for lobster in the mac and cheese, and 86 the Crawfish Etouffe Balls.” You demanded hoarsely your vocal chords still fried from vomitting all night.

“Y/N are you okay? You look awful.” Your sister says looking at your haggard appearance and your overall sweaty pale face.

“Great, now go do as I told you, and make it quick rumor has it a critic is dining with us tonight!” You say the last part loud enough to attract your team of cooks attention.

“YES CHEF!” A chorus of voices ring out as you nod and all but wobble your way to the fridge for some much needed seltzer water.

Of all the days for one of the most known critics on the grandline to come pay your restaurant a visit it just had to be today when you could barely stand up right.

Fortunately for you you had a great team of chefs under your command as you watched them all hurry about prepping and making numerous dishes that looked about as masterful as could be.

You were by far one of the best restaurants on the grandline, your restaurant resided on a small beach in a lighthouse where many ships sailing by frequented your restaurant when they were in need of a good meal and conversation.

And you were no doubt one of best female chef’s the grand line had ever seen.

At just age 7 you had won your local cooking competition taking home a wonderful gift basket of exotic spices that had eventually lead you to your well known name of The Spice Queen.

You specialized in Cajun styled cooking, but you could cook just about anything in any style, you were well versed in cuisine having read numerous cookbooks throughout your life, you even knew quite a few special recipes to help revitalize sailors who were in need of more than just a flavorful meal.

Many pirates sought you out after large scaled battles that left them in tatters, if anyone asked any of those pirates what saved their lives and healed their wounds, they would name you.

Which is how you got your second name, as The Crock Pot Doc.

Yep, one taste of your special famous soup was said to cure a man on his death bed.

But none of that mattered if you couldn’t pull off a perfect dinner service tonight of all nights. You had to make sure this critic was absolutely blown away and you weren’t about to let a little food poisoning stop you.

So you chugged your seltzer water and began mincing and julienning veggies.

That was until a loud bang echoed throughout the entire lighthouse followed by a bunch of screaming and crying.

You quickly put down your knife and made it to the dining area where you absolutely could not believe your eyes at what had unfolded before you.

“WE NEED THE CROCK POT DOC, BRING THEM,PLEASE HURRY!” A man in a straw hat yellled looking around the room of patrons and chefs who had also exited the kitchen to see what was happening.

You stepped forward trying to process the sight before you, a group of pirates had barged into your restaurant all with desperate faces and who you could only assume was the captain carrying a orange haired woman who looked to be on the brink of death.

“I’m her, what the hell is going on??” You asked trying to wrap your head around this and the current state of your dining room that has been nearly destroyed by their barging in.

The straw hat man hastily made his way toward you carrying the woman with desperate eyes.

“I’m Monkey D. Luffy, and you have to save my friends life.” He said shakily but with a determination you could respect.

You laughed in disbelief, this man trashes your dining room on a special night and expects you to just save his friends life??

“And why would I do that?” You scoff looking at the state of the girl who looked worse than you felt.

“Because I’m the man who will be king of the pirates, and I promise I will pay you whatever you need and more if you save Nami’s life.” He says unwavering.

A few of your cooks scoff and laugh, “King of the pirates? This kid?” One of your cooks laughs.

You frown, “I don’t work for free, especially not when I have a important critic frequenting my restaurant tonight, there’s a doctor village not to far from here maybe a day’s travel at the Drum Kingdom-”

“She doesn’t have a day!” Luffy stresses.

Your frown deepens, your about to protest before a wave of nausea makes you wince. “Look I don’t have time for this I’m sorry but you need to leave-”

“Madam.” A voice behind this so called Captain Luffy rings out and you look past the kid and sees a tall blonde man in a black suit stepping forward, his face tense but gentle as he addressed you. “I understand your busy, but she will die if she doesn’t receive some kind of medical attention and I hear your not only one of the best cooks on these seas, but your cooking even rivals most medicines prescribed by doctors.” He says as he walks up to you.

“And you are?” You ask raising a skeptical brow.

“Sanji, The best cook in all of the east blue and maybe the world Mam’.” He says confidently as he shoots you a wink.

You immediately laugh, “Wow you have a lot of nerve to say that to my face.”

His face drops as he immediately shakes his head, “I’m sorry I didn’t mean to offend you I just-”

“Well you wouldn’t be a good cook if you weren’t cocky, so there must be some talent behind your words.” You say crossing your arms. “Your Sanji, Chef Zeff’s prodigy I assume.” You say watching his eyes widen.

A small smirk crosses his lips, “Ah, so you’ve heard of me madam?” He says flirtatiously.

“Yeah, I heard a flirty handsome chef trained by Chef Zeff himself has been making his name in the culinary world as one of the best chef’s out here.”

“Oh really?” He says his smile widening.

“Yeah, but it looks like they only got the flirty part right.” You smirk back watching his face drop.

“Sanji’s the best cook on the grandline!!” Luffy immediately defends.

“Yet he can’t make a healing dish?” You interject.

Luffy grunts in annoyance, “Look we don’t have time for this Nami’s dying will you help us or not!?” He shouts angrily.

“N-”

“You say a food critics coming tonight right?” Sanji suddenly says.

You turn to him and nod, “Yes and I need to get ready-”

“You look sick, how do you expect to impress a critic and you can barely stand up right?” He asks staring directly into your eyes.

“How the hell do you know i’m sick?” You questioned.

“I know when a lady’s suffering.” He says gently.

You didn’t know how to respond to that so you just let him continue.

“So how about a deal, I help lead your cooks tonight and pull off an exsquisit meal to impress the critic, and you in turn heal my friend?” He says.

“And what makes you think you can make any of my dishes East Blue Boy?” You challenge, honestly intrigued by the cockiness of this man.

“I’m a fast learner mam, just give me a sample of what needs to be cooked and i’ll make it.” He says.

You were about to deny this foolish request until the sounds of numerous peoples stomachs gurgling suddenly caught your attention.

“Uhhhggg, Chef Y/N we don’t feel so good.” One your top chefs say holding their stomachs.

“Neither do I.” Chef Rasha groans.

“Oh no..” Another chef groans running out the room and into the bathroom.

“I feel fine?” Your little sister says looking at you in disbelief as more and more chefs ran out the room in distress as you watched your customers quickly flee out the front door.

You couldn’t believe this..your entire staff had contracted food poisioning.

You look between Luffy and the dying woman and then back at Sanji as your stomach churned even more.

Uhg.

“Fine, but my little sister will be your sous chef, she’s basically the mini version of me so listen to her directly got it?” You say approaching the blonde man who’s flirtatious smile made its way back onto his face.

“Anything you say Madam-’ ”And please stop with the Madam, Call me Chef, Y/N.”

“Chef Y/n, beautiful name, fits a beautiful woman.” He says.

Your stomach churns again as you quickly grab your little sisters chef hat and proceed to heavily vomit directly into it.

“Wow Sanji, your flirting literally made her vomit.” A man says placing a pitiful hand on his shoulder.

“Shut it Usopp!” Sanji hisses. “I’m going to have my friends help me considering your now understaffed, is that okay?” He asks looking at your concerningly handing you a handkerchief from his suits pocket.

“Fine, but don’t let that one” You say pointing to luffy. “Anywhere near the food.” You say getting a strange vibe from the straw hat boy just from the way he was eyeing your customers abandoned plates of food they had left.

“Trust me, I wasn’t.” He admits.

“Fine its a deal.” You say reaching out your clammy shaky hand that he immediately picks up and kisses.

Your face contorts into disgust as you take your hand back, just who did you let in your kitchen??

-

Hey guys wanted to do a little Sanji One shot I think this will be a two parter but I thought it would be so cool if Sanji met another incredibly talented chef who just so happened to be a woman right before we meet Chopper at the Drum Kingdom arc!!

[ssruis]

I think tsukasa should lose his voice for like a week & he has to do increasingly complicated charades trying to get his points about the next show across. Nene is briefly like this is an improvement until she realizes that it’s actually more embarrassing to be seen with him in public because he’s doing the most bizarre hand and body movements to convey his ideas & he looks like a lunatic. Emu is wildly off base with all of her interpretations to the point where she’s very clearly just throwing out her own ideas of what she wants to do for the show and pretending that’s what tsukasa means. Rui understands tsukasa perfectly but pretends he doesn’t to irritate him - “oh? You want to do the idea where you have to escape from a box filled with water?” (Tsukasa frantically shaking his head) “And you’re giving me free reign for all the stunts? How generous!” - & suggests replacing his vocal chords with a mechanical substitute. Nene finally puts him out of his misery by telling him to just text them in the group chat & giving him the citrus tea she made in curtain call.

[becausegoodheroesdeservekidneys]

I recently started learning Welsh in part because of you (I have been working on Gàidhlig/Scottish Gaelic for about three years, but I needed some variety). I have a pronunciation question: how do you pronounce the double L that occurs at the beginning of words like llaeth and llysiau? Sometimes the speaker on Duolingo sounds like they're making an English sh sound, as in shadow, and other times it sounds like English ch, as in cherry. I have hearing loss, so parsing sounds can be tricky.

Western languages have no analogue, so it does get tricky!

My description that I always give people: so you know how some sounds like 'h' and 's' and 't' don't use your vocal chords? Instead you just push air out of your mouth around your tongue and lips in various shapes?

Ll is one of those. No vocal chords. Put them away. In fact, the best sound to think of is 'h', because that's pure air.

The tongue position you want is the same as for a normal 'L'. Tip behind your top teeth on your gum, noise made around the sides. But instead of using your vocal chords for the noise, you're going to say an 'h' sound. Pure air, no vocal chords.

The result should feel like an odd, saliva-filled hiss. The joke among Welsh speakers is that you know you're doing it right when you spit on the people to either side of you, but not in front of you (in practice you're doing it right when you don't spit, but it's an odd feeling the first time.) It gets easier the more you practice it.

As a final note, while saying the proper sound is obviously the real aim of the game and what you should work towards, there ARE ways to substitute for something close:

THL. This is my personal favourite substitution by people who can't say it. Llanelli -> thlanethli. It actually sounds pretty close, and it's fairly soft and fluid, so it doesn't make anyone wince. A lot of people may not even notice at first.

FL. Similar to the above, but much more audibly wrong, so it does jar a bit. But not bad.

CL. This is what children say when they're learning. It is a clear mispronunciation, but it also shows that you know it's a different letter and you are trying. Pretty ugly though - Clanecli. People will wince.

L. NEVER JUST USE L. Never ever do that. Ever. That's the disrespectful English approach. Never ever ever. Avoid.

Final note! Thank you so much for learning! Have a wonderful week

[flowerbloom-arts]

I'm aspiring to make a clip compilation of Skinner being on the receiving end of gay jokes (+ ChalmSkinn scenes/jokes) and here's the list I've managed to compile thus far, organized by joke category:

“Skinner gets called gay”

Skinner gets assumed as a "homersexual" and Homer asks if he's into women - s2 ep14: Principal Charming

Chalmers tells Skinner to be gay on his own time after Skinner says they have horoscopic compatibility - s16 ep17: The Heartbroke Kid

Child draws Skinner kissing a merman as a prank - s17 ep18: The Wettest Stories Ever Told

Skinner is in the middle of explaining how he knows how to slingshot "like all boys" and Nelson cuts him off saying "You like all boys? Hah hah!" - s20 ep11: How The Test Was Won

Skinner AND Chalmers get called the worst-dressed gay men a substitute teacher has ever met - s24 ep15: Black-Eyed, Please

“Wait, IS Skinner gay (bi)?”

Bart tells Skinner to get himself fired from the army by flirting with his commanding officer, which Skinner accepts without hesitation - s5 ep19: Sweet Seymour Skinner's Badaasssss Song

Skinner and Homer are in a hotel for jury duty and Skinner points out that they're like The Odd Couple (with Skinner being like Felix and Homer like Oscar) - s5 ep20: The Boy Who Knew Too Much

Skinner reads a Confirmed Bachelor Magazine while looking over detention - s21 ep4: Treehouse of Horror XX

Skinner kisses Groundskeeper Willie and they both realize they kinda like kissing men and go from uncomfortable to REALLY making out - s21 ep15: Stealing First Base

“Skinner and Chalmers have a... situationship.”

Skinner laughs at an accidental joke Chalmers makes and Chalmers joins him - s4 ep20: Wacking Day

Skinner and Chalmers laugh at the idea of using their oil money to pay the students' scholarships - s6 ep25: Who Shot Mr. Burns? part one

Chalmers teases Skinner and excitedly shows off his new Honda to him - s8 ep7: Lisa's Date With Density

Skinner offers Chalmers to use his Merkur (car) after Chalmers' Camry got destroyed, Chalmers rejects him on the basis that his car is full of Burger King litter - s16 ep5: Fat Man and Little Boy

Chalmers says he wished he and Skinner were closer when Skinner gets killed in front of him - s18 ep4: Treehouse of Horror XVII

Skinner honors the "ding" in "balding" for Chalmers - s18 ep5: G.I. D'oh

Skinner and Chalmers sing a musical number together and Skinner "makes it weird" (according to Chalmers) by complimenting his voice at the end - s18 ep14: Yokel Chords

Chalmers, Skinner and Willie get caught in a Diet Coke and Mentos explosion inside a storage building, Chalmers yells for Skinner but gets no response, gets worried and then when he does respond saying he's alright Chalmers tells him to never scare him like that again - s19 ep13: The Debarted

Chalmers and Skinner create the production company "ChalmSkinn" and do some morally dubious scheming together while wearing atleast 3 matching outfits - s19 ep18: Any Given Sundance

Chalmers tells Skinner they should start eating a cock cannoli that flew in through the window at both ends to hide it from Agnes, and that quote, "They'll know they're safe when their lips meet in the middle", they then proceed without hesitation - s20 ep1: Sex, Pies and Idiot Scrapes

Skinner is confused and upset that Chalmers is "overseeing other principals" and asks what they're going to tell the kids, Chalmers says the kids already know and they're happy for him. This is clearly a breakup allegory. - s20 ep19: Waverly Hills 9-0-2-1-D’oh

Chalmers lays down on Skinner's thigh and tells Skinner to hold his head and say soothing things - s20 ep21: Coming To Homerica

Skinner and Chalmers (and Agnes) have a firework show picnic in the background of a flashback scene - s22 ep10: Moms I'd Like to Forget

Skinner flirts with Chalmers and gets called a regular Casanova by him - s22 ep11: Flaming Moe

Skinner has a dream about being a cowboy and literally rides Chalmers - s25 ep7: Yellow Subterfuge

Demon ChalmSkinn's entire character - s26 ep4: Treehouse of Horror XXV

Skinner and Chalmers rub elbows and laugh about kids not being their problem after 6th grade - s26 ep22: Mathlete's Feat

Chalmers and Skinner share a virtual picnic date together in VR (except Chalmers is dating Skinner's grave in his POV) - s28 ep2: Friends and Family

Kearney asks Skinner if he likes Chalmers so much, why doesn't he marry him? Skinner says that as Superintendent Chalmers is basically married to all of his principals and smiles proudly - s30 ep1: Bart's Not Dead

Skinner performs the heimlich maneuver on Chalmers in a bafflingly suggestive way and uses his shirt and suit jacket as a pillow for him, and then gently strokes his head while saying "You're safe now" - s31 ep1: The Winter of Our Monetized Content

Just. Most of the episode. - s32 ep8: The Road to Cincinnati

Skinner and Chalmers have a Steamed Hams-themed Christmas card decorated with candy canes forming hearts in the credits - s32 ep16: Manger Things

Skinner and Chalmers get inside a closet to privately celebrate having a good, qualified teacher apply to their school - s33 ep18: My Octopus and a Teacher

If you know any more scenes that fit into these categories PLEASE tell me, I want to be as thorough as possible with this compilation.

[glass--beach]

when and how did you learn so much about music theory?

honestly i've been gradually accumulating theory knowledge wherever i can for like, 15 years now. i don't have any formal education in it aside from learning the basics in piano lessons as a kid and marching band in high school. no joke a lot of it really was some mix of wikipedia articles, youtube videos, and reddit threads, as well as just talking with people who know more than me. i also read academic music theory papers every now and then (not really gonna do much for a beginner but interesting for finding new ways of thinking). in the past couple years i learned a LOT from the book Twentieth Century Harmony by Vincent Persichetti but everyone i've recced it to said it's the dullest thing they ever read so ymmv

in terms of actually practically applying theory though the most important thing is always to just learn how to play songs you like and try to reverse engineer it. find out why certain chords or scales or grooves feel certain ways, and then steal those ideas for yourself. doing that over and over again will give you a diverse toolbox of musical devices - like line clichés, minor ivs, secondary dominants, tritone substitutions, altered dominants, to name a couple of devices i use ridiculously often - & whether you know the "real" theory terms or not simply recognizing the patterns and knowing how to apply them will get you very far. most people who have ever listened to music already understand some degree of musical structure intuitively, if you've ever made up a song to sing to your cat or whatever you've pulled from that. i guarantee most songwriters who "don't know theory" work in that way, nobody is completely winging it.

kind of went off topic from the original question there lol. the answer to "how" is that i'm a sick little freak and learning about theory is the only thing that brings me joy

[snakebonewitch]

Research Log 1: Location: East (Barcelos, BR), South (Parque Nacional Serra da Mocidade)

Subject Discovery: Subject 'Ann' discovered via miscommunication during incentive transfer. Live specimen of 'Hydrochoerus hydrochaeris' lost in transfer. Attempt to recapture failed; Researcher made for adequate substitute. Escape from 'Ann's attempt to eat Researcher successful. Process included calling out, biting, begging and feigning despair. 'Ann' did eventually release.

Observations: Subject does not understand English or Español. Has minimal communication with local tribes, but understands small vocabulary. Vocal chords likely not completely developed through lack of necessity. Communication conducted via gestures and rudimentary word associations. Skin shares thin and elastic attributes of Eunectes genus on superior and inferior planes. Subject resorts to armor plating along trunk and head for protection from sun exposure and attacks. Hair is nonexistent on the subject, as are most traits indicative of Homo sapien. Heat pits sit under the eyes, with possibility that they are connected via the same nerve or very similar ones via separate foreman channel. General eyesight is less than 20/20; the heat pits likely make up for this especially while hunting underwater. Lower extremity has prehensile capabilities. Distribution percentage between superior and inferior halves proposes predisposition towards ectothermia, possibility to exhibit endothermic qualities up into mesothermic. Facial creases make expansion of jaw and consumption of large prey possible. Hunting seems to have no particular timeframe. Ambush via the water explains both the additional, transparent lens below the eyelid as well as vertical pupil shape. Adipose tissue centered around upper rib cage. Extensive research finds the deposits create insulation around section no longer anchored by a sternum. As well it potentially guards against lower temperatures, an attempt to breach exothermic tendencies and further supporting mesothermic regulation.

Research Log 2: Location: International Coastal Rd 10, West of Cairo, Arab Republic of Egypt.

Subject Discovery: Subject 'Wedjet' encountered among group of traveling vendors. Wares sold by subject include: -Sections of shed removed from Subject's lower region -small vials of yellow liquid, later discovered to be self-extracted venom chemically identical to venom produced by Naja haje.

Observations: Subject 'Wedjet' seemed to hold reservation against analysis. Incentive offered to provide testimony includes: - All (4) remaining specimens of shed from subject (3000EGP) - 3 vials (1.5mL each) subject-extracted venom (4500EGP) - Massage Therapy administered by Researcher during analysis. (RESEARCHER NOTE: I think I just got taken for a ride. I'll need to check what the exchange rate typically is for such things. Pretty sure the massage was just to see what she could get away with asking for; at least she let me keep enough cash on me to travel back.) In contrast to previous Subject, 'Wedjet' is well adapted to life among Homo sapiens. The caravan 'Wedjet' travels with are of no relation. Their discovery of each other is recounted as, quote:

"I was just a snakelet when they found me. They couldn't stop the men that took...them from me. But they found me, left alone in the house, and no one to care for me. That's all in the past now. What happened: happened."

Speech observed to be inhibited while hood is flared. As with Naja haje counterpart, extension of the hood is a conscious effort, only able to sustain position for up to 3 minutes. (Per Subject testimony) Further observation reveals rib structure continuing from trunk section, from vertebrae C7 to C3. Heat pits follow similar position as Subject 'Ann', with differences in size and count. 'Wedjet' expresses aggressive-style humor; on more than one occasion during testimony alluded to sensations of arousal when none were present. Hypothesis of exploitation expressed on part of the Researcher.

Research Log 3: Location: West of Bluewater, NM, USA

Subject Discovery: Researcher was provided local information regarding location. As well provision requirements were noted, namely hiking equipment, personal firearm protection, and guide (RESEARCHER NOTE: 'Guide' being a local from town who can vet that I wasn't there to either steal her cows, invoke Eminent Domain, or capture her for exploitation)

Observations: Subject 'Cera' is an interesting mix between Subject 'Ann' and 'Wedjet'. She lives close to settlements of homo sapiens, but chooses little to no contact with the wider populous. the only forms of contact seem to be from members of the local Indigenous American tribe. They are explained by 'Cera' as, quote:

"...My Middlemen. I, by most accounts, don't exist. But I ain't [sic] survived this long on coyote meat and bunkin' in barns. I raise the cows they don't have means to raise, I get left alone, and we split whatever we get from market; meat and cash."

Subject has been observed practicing eating habits indicative of homo sapiens, with three consistent-sized meals over the course of the day. This is noted in contrast to other observed subjects who otherwise practice eating habits indicative of ancestry. 'Cera' denotes the reason being that an otherwise conventional Lamia eating-style leaves room for predation of stock. Venom naturally produced by Subject's venom glands are noted to not be used in day-to-day life. Similar to 'Wedjet', 'Cera' provides venom samples both for medical antivenin production, as well as private sale. Growths above orbital section speculatively classified as 'horns'. 'Cera' notes they have never shed, but the left one has sustained injury in the past. Quote:

"Sumbitch [sic] had me holed up at least a month. Busted the end off and everything. You can't see it now; this was when I was first startin'. Don't stand behind a steer if you don't want to get kicked. That one made a damn-fine steak."

Research Log 4: Location: Tokyo, JP

Subject Discovery: Initial lead discovered via r/Cryptids (Reddit). Post contains 5 second video of Subject, rolling away in similar fashion to above illustration. Contact with poster helped track subject to near Nakano, Tokyo, Japan. Four (4) nights were expended in search of Subject, finally found exiting a local 7-Eleven.

Observation: Subject 'Chise' describes herself as a "hikikomori" (ひきこもり) a colloquial used to describe individuals experiencing severe social withdrawal (self-imposed and otherwise). Despite this barrier, she does sustain herself using an animated virtual avatar to interact via social media ('VTubing').

'Chise' exhibits higher 'tolerance' for alcohol in comparison to home sapiens. Specific variable that enables this is not yet known, and may require further research.

'Chise' maintains dexterity exhibited in other subjects, despite tail and body lacking similar length. Example provided includes tucking and curling tail into ring formation to assist in locomotion. Speed clocked at 6KPH.

Researcher requested by Subject to maintain communication. Request pending approval. If request denied or slow in turnaround, independent approval will be authorized.

[thumpypuppy]

Lindar here!

Thinking on a conversation I had with Sadie about the title theme of ISAT, and given a lot of folks have been transcribing music for the OST, I kinda want to briefly talk about something.

First I would like to say, the language we use for music theory is DEscriptive, not PREscriptive, and so it is important to keep that in mind. We try our best to describe what's happening!

One interesting conversation is around the title theme, and so I will say this: The first part written was the melody, which is strictly in D Dorian. This melody and it's various incarnations throughout the soundtrack exist with many different supporting chord structures that change on basically every iteration, but one unusual feature in its original iteration (the START AGAIN title theme) and modern original (In Stars and Time title theme) is that, despite being in D Dorian for the melody, the supporting chord structure features a rather prominent major five. To me it makes sense and adds some amount of resolution, where if it was ACTUALLY D Dorian it would feature a minor five, which didn't sound right. Does the piece shift between D Dorian and A minor? Is it a "harmonic Dorian" scale? WHO KNOWS! As much technical nonsense as I've put into the soundtrack (largely thanks to the ongoing theory lessons from the one and only Sadie Greyduck) at the end of the day we do what sounds best. It's an unusual modality, so maybe we can just call it "Thumpian Mode" and call it from there?

I've also seen some other interpretations of different pieces, and one that really stands out to me is how people perceive the rather drastic key change in, among other things, "We're With You!". While we could talk endlessly about this particular motion of chords, I'd like to bring up my actual thought process.

First off, listen to the first battle with the King ("Do You Remember?"), specifically the "victory/hope" motiff at the end that features a prominent brass section. The beginnings of that song as a whole were actually the first piece of music written for the original START AGAIN soundtrack, followed shortly thereafter by the melody for the title theme. While START AGAIN and the subsequent In Stars and Time do feature a heavy usage of leitmotifs (and yes the many identifiable motifs are specifically used to indicate an emotion or context, which are later recontextualized for dramatic effect), a number of them were written out of order and given additional meaning through clever placement. Further, transitioning from START AGAIN's 11 tracks to In Stars and Time's staggering 41 tracks, a significant amount of expansion of existing leitmotifs was done in addition to creating new ones.

Second, the actual thought process behind writing the hope/victory motif was something like "dang I need something to round this off… uhhh… screw it, arbitrary chromaticism because it sounds intense and metal" and so we go A5, C5, B5, Bb5, and the actual melodies used were vaguely navigated by ear kinda in the ballpark of A minor. Upon hearing this piece, Sadie explained to me that a common alternative to using a Dominant 5 is to use a tritone substitution of the five, which is a bII(7), which is why the progression (mostly) makes sense despite classic progressive motion saying i->III is valid but fairly weak, and III->ii is extremely weak.

Now we fast forward a year or two and I have been requested to make a chipper rendition of the victory/hope motif for a different context (which, in my opinion, adds to the weight of its later appearance), so now let's finally take a look at "We're With You!". While the time signature is quite different from its original 5/4, you'll notice that the chord progression is somewhat familiar (I -> iii -> ii -> bII), and while the leading melody is something else, the supporting voice(s) are a reiteration of the hope/victory motif!

Now we get to the unusual part, the key change! It's not particularly common to change keys to a tritone as they have essentially nothing in common, but we're using that bII as our return to tonic, so what if we reinterpret that chord as the V of a new key, since it's kinda functioning that way anyway? So instead of Bb returning to A as we've done before, we move to the new tonic of Eb! From there the piece essentially makes the same motions, and does the same key change at the end, returning us back to our original key in time for the piece to loop!

So I think at the end of the day what I'm trying to say is that music theory can definitely give you an understanding of why certain things sound certain ways, and it can teach you things that you would not have thought to do before, but the most correct way to write music is to do what sounds good and try to understand it later. Lindar from five years ago was afraid of key changes, but modern Lindar knows that keys are arbitrary and you can make unusual motion to interesting effect.

All that said, I absolutely love reading posts about how people interpret and analyze the things I've written, so keep it coming, because I learn something new every time I see a new interpretation!

[whyarealltheuserstakenwastaken]

IM BACK WITH MORE HEADCANONS

also there are like 2 Fizz hcs too

Alastor treats Charlie well because she reminds him of his mother; caring and optimistic, with a horrible addiction to giving second chances

Teleportation powers are very unreliable when the user is drunk

Vaggie doesn’t like cutting her hair because the exorcists did it quickly and violently and often cut her neck (she still has scars)

That’s why she only trusts Charlie to cut her hair.

Also all exorcists were required to have short hair.

Fizz knows sign language because his vocal chords were messed up in the fire and he couldn’t speak for a good amount of time.

Which is also why Fizz’s voice sounds sort of hoarse all the time.

Angel can give REALLY good hugs (multiple arms + chest fluff) but is often uncomfy about giving them (fuck you Val).

Husk hates his cat attributes, especially his purring.

Alastor still needs glasses, but he tries to substitute them with his monocle (doesn’t work)

Val’s heart glasses are actually prescription glasses (shitty eyes lol)

Alastor used to have ‘old-fashioned’ stands on stuff, but Charlie keeps them in track

Lucifer’s true angel form (now non-accessible) is a swan.

Husk and Alastor would enjoy behind-the-ear scratches, but would pretend to hate it.

Charlie had a phase where she ate nothing but buttered toast for two weeks straight (totally not self-projecting)

Lucifer knew straight away that Vaggie was a fallen angel

And post-s1 they always talked about fallen angel stuff

[tweeterwilbury]

Okay I’m curious, what exactly is the story of George Harrison at Woodstock?

I will try to be brief.

Ok, so in 1968, right after the white album was released, George was invited to go to woodstock for the thanksgiving. As he said on I Me Mine; "I was invited there by The Band. It was Thanksgiving time and I'd just finished producing a Jackie Lomax album, directly after the Beatles 'White' Album."

He also mentions in an interview — I think it's for Musician, in 1987? — that he thinks he was invited there by Robbie Robertson.

Robbie mentions the visit in his memoir, Testimony, and he says that he had to convince Albert Grossman to let George stay at his house, and also that "Bob [Dylan] was keeping a very low profile, and when I asked him if he wanted to see George while he was in town, he too was a little iffy at first."

It's a very known fact that George was a big fan of Bob Dylan — he mentioned that in a lot of interviews, and everyone around him mentioned that too, besides the fact that he was always quoting Bob —, and during that time in Woodstock, he wrote two songs with Bob.

The first one is I'd have you anytime:

I have a post about the unused lyrics for that song that might be interesting for now.

George mentions in I Me Mine that "He [Bob] seemed very nervous, and I felt a little uncomfortable — it seemed strange, especially as he was in his own house.", and he also says that the song was written in the third day there. Later, Olivia mentioned that, when George wrote the lines 'Let me in here, I know I've been here, Let me into your heart', he was "directly talking to Bob".

The second song that they wrote together was...

One thing about this song: it wasn't finished. There are only demos of it. But it still is a very interesting song... in the lyrics on I Me Mine, there is this unused part:

That was substituted with "I get tired of being Beatle Jeff" / "I get tired of being Beatle Ted".

One fun fact about that song is that it had different names through the years. This was mentioned the George Harrison website: "Nowhere To Go was a collaboration between George and Dylan from their 1968 Thanksgiving visit that also yielded ‘I’d Have You Anytime’. It was first called ‘Thingymubob’, then ‘When Everybody Comes to Town’. ‘I Get Tired’ was also a working title and finally, by the time of the All Things Must Pass sessions, it is titled ‘Nowhere To Go’."

George mentioned the song using the title 'Thingymubob' in a letter to Bob, where he wrote the chords of the song.

Going back to The Band, Robbie said this, on testimony: "I was very curious about recording techniques the Beatles had discovered. George described their process as extremely experimental and sometimes accidental. I could definitely relate to that. When George inquired about the Band’s recording methods, I could barely keep up with him. For every question I posed to him, he asked me two about [Music From] Big Pink and The Basement Tapes [...]"

He also said this: "But George was one of the most open people I’d ever met, and Pattie was one of the prettiest and sweetest. George spoke incredibly candidly about the problems within the Beatles. John, he said, was far out on a limb, testing his balance. “Kinda crazy,” he laughed. And our dear Ringo was following in the tradition of many a hard-drinking Brit—apparently he had threatened to quit the band at one point. George was quick to admit there were serious tensions between Paul and him. 'Whenever I present a tune, the Lennon and McCartney songwriting team will ignore it as long as they can,' he said. 'Sometimes I even have to fight for my guitar parts. Paul has such a clear idea of how the song should go that he tells me what to play, or he wants to play it himself.'"

Two very interesting things here: the fact that George was talking about the problems in the Beatles, and also the fact that he was very interested in asking about the band records.

From I Me Mine; "When I wrote 'All Things Must Pass', I was trying to do a Robbie Robertson-Band sort of tune and that is what it turned into." He also mentioned that, while writing the song, he always thought about Levon singing it. (I'm not sure about where he mentioned that, tho.)

There are some songs that Bob showed to George on that time and he played later — for example, I threw it all away, a song that was released on Nashville Skyline, was played by George during the get back sessions, in january 1969, even before Bob recorded his version, and also I don't want to do it, that was released by George in 1985 —, and that travel was basically the start of a long collaboration in music, between George and Bob.

Also, George talking about the problems in the Beatles during that travel makes Nowhere to Go have even more sense. And then, when the beatles got together to record an album, it was on the get back/let it be sessions.... when he famously quit the beatles for some days.

Well, i think I've talked a lot, but that's basically the story. George also gave a guitar to Bob, but I'm not sure about when that happened — especially because he used that guitar during the get back/let it be sessions, and then on the abbey road sessions...

Anyway, here are two pictures; in the first, Bob and George, and in the second, Robbie and George.

AND THAT'S IT! i think. Sorry if this wasn't brief at all. It took me one hour and a half to write all this, so i think i probably got lost somewhere and maybe i am forgetting something.

[gamejoypod]

i beat Balteus last stream and i have some extremely normal and very hinged thoughts about the music that scores the fight, a track called Contact With You

I love the subdued percussion, it makes room for the constant munitions & gunfire to fill that role

I love the radio static from your comms substituting for hi-hats

I love the barely audible choir floating behind the chaos

There's a noisy, out-of-key bass drone that i take as representing Balteus itself that is constantly getting drowned out by pad chords & a soaring melody. This isn't about Balteus, but something so much greater.

The fear, desperation, doubt and hope are dripping from this track but aside from the lower arpeggios it sounds like the higher melody is designed to center your focus, almost meditative

The thing that nearly brings me to tears is right before the end. For just one measure, you get a single fully resolved Major chord that cuts through the fear, simultaneously refreshing your focus and sharpening the tension and stress of the rest of the piece.

You've always had enough time to take a full breath in your cockpit. this single, fleeting chord feels like the game is reminding you of it. "don't forget. take a breath and finish the fight, because you can do both"

If i want to get really out there, it feels like more than the game just wanting to you to do well, it's like you're being pleaded, begged to overcome this challenge. Even with what little i know about Rubicon, Ahyer and the Coral at this point, it might not be just an abstract cry for salvation.

Balteus is just an autonomous craft, there's no human will you're pitting yourself against. Walter isn't there to advise or command you. The whole encounter is for slamming the gaps between you as a player and 621 as a pilot together. Your fear, determination, emotions and goal are the same now.

Contact With You is the score to the player and 621 uniting and awakening as the same, single entity. It's not a "Vs. Balteus" theme, it's "Becoming Raven"

[undergroundbillions]

I love Pamela Sousa for joining us for interviews and barely wanting to talk about her experience in the show. No, she wants to ask US what we think HER CHARACTER was supposed to be.

And it's great, because she makes. us. think.

Because what DOES Bat want? I'm realizing now after the stream that I answered my own question of where Bat and Wolf fit into the larger themes of grief and family, because that's what I am. I'm a themes guy. But I didn't really answer her question of what Bat's motivation is because I didn't really know! Of course, as a director/dramaturg I'd encourage that discussion between the actors more than they did in the original show, but I didn't really fully consider the question in the moment.

But we talked about it after the stream!

It was Mod Wowf who said it best, and said they were thinking about it while listening to me talk. That if, as I said, the main purpose of Bat and Wolf is to be puzzle pieces in Marcella's picture of a Loving Perfect Family, then their goal is the same as Marcella's and Poppa's and Mommy's, to get back to that perfect family.

Or, to find some way to get rid of that yearning by whatever means necessary. Either by finding it again (Marcella, Mommy), by finding a substitute for that missed connection (Bat, Wolf), or by forgetting it altogether (Poppa). They don't always know they're doing this, of course, but it drives almost every choice made by those five family characters. They're parts of a whole that will never be content as long as they're apart, dissonant chords, and they have to either die (Bat, Wolf, Mommy) or learn to accept that grief and move on.

Or, as you could say, carry on.

So I can't say for certain what Bat or Wolf's motivation is down to a "t", I think that's something to be explored within the experience of individual actors. But I can be happy knowing that we have a good place to start, and can do our best to avoid the frustration Pamela Sousa had with not knowing who her character was, and not getting much help from the creative team.

-𝕸𝖔𝖉 𝕲𝖊𝖓𝖊𝖗𝖆𝖑 𝕯.

P.S. Gail Benedict, while giving us more of a lecture than an interrogation, has been equally as pivotal in shaking up our approach in writing. Something about playing Bat, I suppose?

[empressgeekt]

When Barb sees little baby Rose and realizes what her power chord has done, she's absolutely devastated. A week ago, she might not have cared and would have been happy about the rock traits, but now? After everything? She's extremely upset because she very nearly killed the baby and potentially stunted her development and bond with Branch and Poppy because she'll never be able to use her hair the way a pop troll is supposed to. Which means she'll be at a disadvantage wherever they live

John dory will get Rose a grapplewhen she's older so she can climb trees, but it's a poor substitute.

Barb feels guilty for years to come. So she works really hard to keep the peace between the tribes.

Branch still blames himself. Even if Poppy tells him it isn't. His head still tells him it is, if he hadn't jumped Rose wouldn't have been hurt. The black hair is thick and shiny, but it's beauty makes his heart ache.

[dustedmagazine]

Alessandro Cortini — Nati Infiniti (Mute)

Photo: Emilie Elizabeth

Nati Infiniti is based on an installation that electronic musician and instrument builder Alessandro Cortini created for Sónar Lisboa 2022. Each of the four floors of a huge dwelling — a converted mill — had a different sonic design. Cortini used Strega, an instrument that he co-developed with Make Noise.

Strega

There is no comparison to walking through the actual exhibit, but Marta Salogni’s five-movement mix of the work is about the best substitute I can imagine in two-channel audio. As a bit of a synth head, I’ll admit to Strega avarice: great-sounding machine.

The gradual morphing of sounds that Cortini uses supplies the music with a constant sense of flow. The harmonies too are motile, with some surprising shifts that keep things interesting. The first movement, “I” (each is solely designated with a Roman numeral), begins with a lower and an upper drone softly emerging. These sounds build a gradual crescendo. Other drones are added in resonant stacks and occasional chordal slices drift through. “II” begins with buzzing glissandos. A long major chord is cut off by a sharp eleventh dissonance, a pattern that continues, with various added dissonances distressing otherwise consonant walls of sound. After Cortini focuses for a time on the upper register, the interplay of tenor and bass voices creates a swath of melodies. “III” is filled with multi-octave drones to which various upper partials are added. There is a noteworthy moment where this yields a sumptuous minor chord and in other places a flattened seventh reveals Cortini’s awareness of the microtones in the harmonic series. As the movement progresses, small pitch bends are added. “IV” is the shortest movement, but perhaps the most interesting in terms of design. Cortini begins with an upper register drone that persists, then adds a brassy mid-register and finally uses the Strega for powerful bass punctuations. With the horn sonority, he adds a seventh and then drops away for an octaves and fifths conclusion to the movement. Thirds are stacked in the upper register to begin “V,” and then the lines, moving faster than in previous movements, create overtone-filled verticals in a state of constant change. When the tempo moves at this pace, it is more possible to hear the pile-up of drones as progressing through chord changes, and the ones Cortini selects make an asymmetrical mélange. “V” moves successively faster and in phase, with a denouement that finishes the piece, and the entire installation’s music, with a long soprano note.

Nati Infiniti otherwise has the pervasively slow tempo of much ambient music, but the album is only thirty-seven minutes long. Fits nicely on two sides of an LP, and perhaps it includes the whole installation’s music, but one could imagine stretching out the experience even longer. Perhaps Cortini will make an extended mix for online consumption.

Christian Carey