Dusty Chalk

You done dewed et? Dude!

Aw, condolences to Al and Claire and all who have met her.

In less than 20 minutes.

You probably won’t be able to watch the whole thing, but what happens starting at ~6:00 is pretty brilliant:

https://tidal.com/track/9625963 one of my favourites Also, what is going on with The Sweet? Desolation Boulevard is there, but not Give Us A Wink. There’s a Brazilian versions of Action and Love Is Like Oxygen, but not the albums they were culled from. I love the whole Give Us a Wink album.

I do, I was recently listening to Gone to Earth by David Sylvian and Sleeps with Fishes by Pieter Nooten. I was listening to energetic Yello as well as... mellow Yello.

Bandcamp Friday, in which Bandcamp generously forego their fees and 100% of the proceeds go to the artist, is today. https://daily.bandcamp.com/features/update-on-bandcamp-fridays

Off axis? Or perhaps he did?

New Pineapple Thief New Pain of Salvation New SPC ECO New Yello Life is good

https://www.musicradar.com/news/10-classic-synth-riffs-that-are-actually-stupidly-easy-to-play

“Hold my beer...” I do not recommend listening to the above. This is crap of the crappiest order. Crappy crap.

🤤

Ah, okay, I missed the part about “modulating from C ionian/major to C aeolian/minor. Thank you for clarifying. Part of it is you’re talking right at the cusp of my understanding, so I’m just barely keeping up. Up until just a couple years ago, my world revolved entirely around the harmonic minor scale. Derail away, it’s all music making. Also: noice! My setup should be so tidy and accommodating.

Wait, I’m confused: I thought A natural minor was the relative minor to C major. I think you got them swapped: C natural minor is the relative minor to Eb major.

(squints) I see bacon!

Actually, that makes perfect sense, especially as a learning tool. I love the concept of inversions and voicing, but I’m trying to compose, so unlike improvisation, there’s no time pressure. It still strikes me as a useful way of thinking of things. I would like to know more about these “chainings” (“families”?) , but that’s an area of music theory that I am sorely lacking, and will have to research on my own. Thank you, as always, for the thoughtful response.

I still don’t see any bacon. #amdisappoint

That was the original point of this thread, so I’ll more than allow it, I’ll encourage it. I only just discovered this channel, myself, so feel free to share any others. I found it by way of this video from Paul Davids: My crazy talented vocalist friend, Tash, introduced me to a book written by her choir director, Brinegar. In it (I’m told, haven’t read it yet), that notes can have multiple meanings, depending on context and how you got there. I would assume the same is true for chord voicing. https://www.pitchperfectmusictheory.com/ I would love to hear more of your guitar instructor’s thoughts, especially after being introduced to the above concept. It was that context that made certain portions of the above video so interesting to me. I had only recently discovered the concept of not playing the root in the bass because of a completely different song: ... and am definitely going to let that inform my arrangement of an original I’m working on. Lollers, yeah, I need to review it about 10 times, I think.

Where’s the bacon?

Oh, lollers.

This one?

Much Al1ce

“Parallelepipshed”