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Orsanct

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  1. I actually met Tim Exile a few months ago at, of all places, Imogen Heap's house. He is quite clever at spontaneous remixing — and a very nice fellow.
  2. Eric reminds of how strange "musician talk" can sound sometimes. Just last Tuesday I was conducting a piece with a 5-against-2 figure and I heard myself say: "Just place the second note (of the duplet) right in the middle of the quintuplet — halfway between count 3 and 4"!!!
  3. So, to help out Wavves in the least technical way, might we tell him that the chords are: 1. Db-F-Ab-C /with Eb in the bass 2. Ab-C-Eb-G /with Bb in the bass 3. Gb-Bb-Db-F /with Ab in the bass 4. A-C#-E-G# /with B in the bass And Wavves: a 9th is a fancy way of saying the note above the "root" of the chord. We could get into a discussion of why it's called a "9th" but I'm not sure that really matters. Now, go make some great music! And thanks for pitching in everybody!
  4. Wavves: I just mean the top note of each chord — one after the other - as if it were the "voice" of a sung melody, that's all.
  5. Aha, I see. I'm listening on my iPad speakers — no bass! I'll have to listen with headphones when I get home....
  6. Oh yeah — so others can "check my work", the notes in each chord (bottom to top) would be: 1. Db-F-Ab-C 2. Ab-C-Eb-G 3. Gb-Bb-Db-F 4. A-C#-E-G#
  7. Eric, That's weird. I'm hearing it as: Db Maj 7 Ab Maj 7 Gb Maj 7 A Maj 7 Isn't the upper voice: c-g-f-ab? I fear my ears are going bad with age.
  8. I find that music theory debates often (silently) revolve around negative personal experiences. IMO, theory is simply a way to encapsulate a musical practice into a digestible format that can be then shared with others. The fact that there are stodgy theory teachers who torment generations of students isn't really the point. If you find it useful - use it. If you don't - don't bother.
  9. Years ago, I was contemplating conducting a piece that had an optional theremin part. I wistfully mentioned that fact to my ensemble and the hand of one the players shot up and she said, "I play theremin!" As she was (is) an incredibly gifted oboist — and everyone knows that when oboists aren't practicing, they're devoting their remaining moments to making reeds — I thought she was putting me on. Well, as it turned out, she was an excellent "thereminist" as well! Today, she continues to lead a musical double life. Here's a fun little photo shoot she did last summer — with her "other" ax. http://blog.bespokephoto.com/2010/08/musician-portrait-lara-wickes-theremin.html
  10. Welcome Josh! Whether a professional, hobbyist or something in-between, you've come to the right place. This board is just crawling with really smart and helpful (and occasionally delightfully snarky) people who can help with almost any problem. They've saved me on countless occasions — that's for sure! Enjoy!
  11. An oft-forgotten choral work by Arnold Schoenberg titled, "Peace on Earth." This sometimes surprises folks who only know of the atonal/12-tone works by Schoenberg.
  12. I think there are a number of possible interpretations. To me, there's not a strong feeling of tonic in this progression; it strikes me more as a sequence of chords that the writer happened to like (within the C major pitch collection). If I were pinned down, I'd be inclined to call this "F Lydian" as it seems to settle on F (major) chords at the important structural points of the phrases. Other opinions out there?
  13. As it appears everyone's reached a satisfactory resolution to the question, I'll just chime in here at the end to state that I REALLY think that the term "synthesizer" was used largely (and imprecisely) to make an easy-to-understand distinction between "natural" and "electronic" (i.e., "manmade") sound sources. Ergo, I'm content to call a lowly Theremin a "synthesizer."
  14. Great explanations by triplets! Another, slightly more formal, definition of a harmonic is an integer (or "whole number") multiple of the fundamental frequency. So, if we were to start with a low "A" at 55 hz, then the first few harmonics would be: 55 x 2 = 110 hz 55 x 3 = 165 hz 55 x 4 = 220 hz 55 x 5 = 275 hz 55 x 6 = 330 hz etc.
  15. For those who might be interested, Cam Troillard - in collaboration with Robert Jarvis - recently created this tutorial for synching up a Kyma timeline (on a Paca/rana) with Logic as the master (and Osculator as the bridge.) Enjoy. http://www.osculator.net/doc/tutorial:4
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