brian trageskin

i just realized this is rather confusing and self-contradictory. it's getting late though, i'll correct my mistake tomorrow.

@IOS assuming i am right about that tuplet stuff, it's pretty obvious how that last segment works - i mean, i have no idea how to analyze it in terms of time signature and shit but the "mechanics" of it is pretty simple: when we get to the 5th beat of the last bar (the 5th quarter note i guess), we hear these tuplets - as i mentioned earlier, 6 of them (sextuplets i guess?) fit into the space of 5 16th notes (this way of putting it seems more accurate than what i previously said though). whatever the time signature is at this point (5/16 maybe? idk, i suck at this), we're not in 6/4 anymore. and the pulse is now set to the tuplet grid, instead of the former subdvisions - hence the weird timing when we get back to the 1st bar. had the snare rush consisted of 10 hits instead of 8, it would be a different story, as the pulse would still follow the former grid with its 16th note subdivisions. all this to say: time sig pls

- brian trageskin, PhD in art history and music theory

yeah they were both labeled as bay area figurative artists and were close friends apparently. their works seem quite different though, imo. thiebaud's surreal landscapes flirt with illustration, whereas diebenkorn's landscapes are more abstract, yet more realistic. imo.

oh great, another lame-ass afx copycat. just what the world needs.

wayne thiebaud

holy crap, i just noticed this. it might be tuplets after all, combined with a time signature change - or something: 6 16th notes fitting into the space of 5 coincidence? i think not. the plot thickens.

nice. i hope you now understand why i mentioned tuplets. but yeah, it's just a segment at a different tempo, not tuplets. anyway that was fun. thanks again for the notation.

i meant "faster" actually, not "accelerating". the segment with the snare rush is at a faster tempo than the rest of the bar, which explains why the 3rd bar is slightly shorter than the other 2. i'm 300% sure of this. i don't know how to sync a click track to the tempo of an audio file so i just used my ears, but that tempo change is pretty easy to detect at normal speed, and it's even more obvious when you slow the audio down. can't you hear it?

thanks for this! so if i understand you correctly, your explanation is that the tempo is slightly accelerated during the snare rush, nothing to do with odd-numbered tuplets or anything, correct? this is my current explanation btw.

haha cool. yeah i was asking about the snare rush in the last bar, not the time signature, idk if that was clear. apologies if you got that the 1st time and you just need time to analyze the tuplet thing and the meter trickery in the last bar. i mean i did slow down the audio in audacity and tried to figure it out myself but since i don't know the 1st thing about rhythms and have the attention span and patience of a 3-year-old, i quit after 30 seconds or so lol. anyway i'm curious to see what you come up with.

i checked out the tonnetz for the 1st time and you can clearly see the cycle of 3rds on it. you just have to move through the grid like this (or in the opposite direction): minor triads are the triangles pointing downwards, major are the ones pointing upwards. it's just a different way to visualize it. yes, i am bored to death.

@IOS what kind of tuplet is this? also it sounds to me like the last bar is shorter by a tuplet actually, if that makes sense. please explain.

which are considered music and not though

last post: the concept i was referring to is the act of moving up or down the circle of 3rds. yes, there is such a thing and i kinda feel stupid for not knowing about it until a few minutes ago. it is formed by alternating major and minor 3rds (i'm just quoting an article here).

OCD kicking in. i reread this: and realized i've made a careless mistake. that's not what i meant. i meant the concept of removing the bottom note of a major or minor chord and playing the 3rd above the top note, and so on and so forth. i guess i made this mistake because as i mentioned earlier itt, if you keep adding 3rds in the opposite direction (below your chord), you'll get a new chord each time. but you won't get a new chord if you keep adding 3rds on top of your chord, you'll just get an extended chord. duh.

edit: in which 12tone lists and names every possible relationship. to label doesn't mean what i thought it meant. i'm just being anal, i know. no one cares.

super cool video in which 12tone lists and labels every possible relationship between 2 triads - major and minor only - regardless of tonal function. mediants are mentioned btw, i.e. the chord relationships chim and i have been talking about.

i will if the neighbours stop being so noisy, i can't focus on anything when there's too much noise around me. btw i don't know why i mentioned "the odd modulation" in the tune like it's something challenging, cause it's really not. the only modulation in the tune is a section in Db major, so basically Bb minor (the home key) moving to its relative major. no key signature change. super basic stuff. this is exactly what chim was talking about earlier btw, tonic chords moving to their relative major or minor. some schools of thought disagree that you can substitute both chords in minor keys, they say that the relative major has the subdominant function, but most people say they both have the tonic function. truly fascinating, i know. hell no. it's not like i've learned how to play the chords and the melody simultaneously, i just play the chords and the bassline and it sounds very boring. it would be hilarious if after all this time, you told me your fav major voicing is C E G.

well, oil sticks are pretty expensive too unfortunately. depends on how agressive you are with them though. think of a butter stick. it can last more or less time depending on how much you spread it on the surface and it gets more malleable depending on the temperature in the room. never heard of corrodi. quite beautiful indeed. learning perspective sounds fun. cool. my fav artist is merlin carpenter. are you asking me my fav painters or my fav paintings? he's influential in that he's not a nobody on the art market and works with top galleries. he's no jeff koons but i guess he's well-known among the new generation of painters. i won't say his name though, i don't want him getting doxxed (better safe than sorry)(not by you btw, i trust you).

i certainly agree that mastering the basics is key (pun intended) - i should know, i have many gaps in my knowledge of basic theoy that keep me from progressing. but even with those gaps, a sketchy understanding of theory is still preferable to zero understanding in my book. i'd rather have a tool than no tool at all, even if i don't know how to use it properly. sure, i'd be better off learning how to use the tool properly, but i'm already happy with what i'm able to do with my sketchy knowledge. very happy. which is the most important thing.