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location Illinois
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visits member for 1 year, 8 months
seen 41 mins ago

2d
comment Pay-to-Play Gigs
@DrMayhem: There are some venues where it would generate a lot of value, and many where it would generate none. Even if only 1% of venues would offer sufficient value to justify the cost and effort, so what? If a musician knows of a particular venue which does offer sufficient value, why should he care about the 99% that don't?
2d
comment Pay-to-Play Gigs
@SteveJessop: In a sense--when a performer is being paid, the performer is expected to act in the interest of the person who is paying. A professional performer might regard paying for an open mic as part of his professional career if e.g. he views it as a means of advertising himself. If $2 would buy the right to say "If you'd like a CD, see me after the show or visit my web site at example.com", that could generate as much value as a print or radio ad, but at a fraction of the price.
2d
comment Does an implied tie exist
How about using a whole note in the first, second, and last measures, repeat-measure marks in the interim, and a single long slur mark that extends uninterrupted from the first measure to the last under all of the repeated measures?
Sep
17
comment Pay-to-Play Gigs
If the number of people willing to pay $2 is sufficient to keep the mic full, the odds of the next big star having been willing to go through the trouble of driving to the venue but unwilling to pay $2 would seem far less than the likelihood that--in the absence of a fee--the venue would miss out on the next big star because the mic was constantly given to people with no talent. Allocation of resources by people's willingness to pay isn't perfect, but most of the time it will be more efficient than any fair and practical alternative.
Aug
26
comment What's the difference between two notes played on strings of different thickness?
You sound like you know a lot about string physics. One thing I've been wondering about is whether it would be practical to design guitars (especially smaller scale ones) in such a way that string tension would vary less with displacement. The biggest problem I've observed with low string tension is that loud notes are noticeably sharp compared with quieter notes; I would think that having a more constant string tension would help fix that. Do you know of any efforts to achieve such a result?
Aug
22
comment Acoustic Yamaha U1: One key sounds too loud
@WheatWilliams: A legend on the soundboard of by grandmother's Stultz & Bauer referred to the felt curtain as the "patented muffler attachment"; it was actuated via drawknob rather than a pedal, but the purpose was the same.
Aug
21
comment When to use a dot or a tie in music notation?
In 4/4 time, I'd say it's fine for a dotted quarter note to start on the "and" of beat one or three, since a dotted quarter note is expected to carry on through the next beat; no form of quarter note should generally cross from beat 2 to 3, however. Any quarter note which starts in the first half of a measure should fit entirely within it; likewise any quarter note that starts in the second half. As for having four beamed dotted notes, that would seem a little odd except in something like 6/8 or 12/8 time, and even there a duple bracket might be better.
Aug
13
comment How to play chords like G/B
That's B-x-G-D-G-X; I could see advantages to using a higher hand position if one were putting a B on top (e.g. 7-x-9-7-8-7 or 7-10-9-7-8-7 (bar 7th fret), but I'm curious why you would suggest using a higher hand position but then not use the upper E string?
Aug
12
comment How to play chords like G/B
How about an open "G" chord but simply omit the sixth string? That would voice it as B-D-G-B-G, which I would think should be good.
Aug
3
comment Are doubly augmented and doubly diminished intervals practical?
...reduced twice (and thus became only singly-diminished) or minor intervals that got expanded twice (and thus only singly-augmented). I have actually encountered a doubly-diminished second (pitch moving the opposite direction of the staff note) in print (choral sheet music); there was a section of about eight bars that was in Cb, but two non-consecutive bars within that section notated pitches enharmonically as though it was in a "sharps" key. I'm sure it was "accidental", but it was definitely weird having the staff notes go one way and the pitches go the other.
Aug
3
comment Are doubly augmented and doubly diminished intervals practical?
@PatMuchmore: You're quite right of course (corrected I think). A transition from D# to Db could be a doubly-diminished or doubly-augmented octave, depending upon direction. I know I've heard music which modulated with an old-key V7 going to the tonic of the key a major second higher, so although the choice of starting key was contrived to cause "trouble", the chord sequence was "real". I found it surprisingly difficult to create any sort of doubly-augmented or diminished interval, since just about all the intervals which could get "double-whammied" were either major intervals which got...
Aug
1
comment What makes an interval “Perfect”?
@syntonicC: I would suggest that a 4:5:6 major chord is to a 4:5.06:6 chord what a photograph of scenery is to a tracking-camera shot of that same scenery. Adding a little motion to the scene makes it much easier for the brain to separate out the items within it. I don't think people's preference for slightly-sharp thirds is just cultural--I think that the brain needs the changing phase relationships between notes of a chord in order to hear them cleanly as distinct notes.
Jul
29
comment Barre chord F and barre chords in general
It may be worth noting that while playing a 6-string G-bar chord may be difficult or impossible for many people, playing the top four strings of a G-bar chord is very easy.
Jul
17
comment Will Playing a Guitar Through a Bass Set-Up Damage the Amplifier and/or Speaker?
@LeeWhite: It should certainly be possible to design an amplified speaker in such fashion that the electronics would never drive the voice coil beyond its safe mechanical limits, and I would expect that many are in fact designed in that fashion. An amp driven hard enough that the electronics had to restrain the output would probably sound lousy until the volume was reduced, but not as bad as one with a blown voice coil. I don't know if manufacturers clearly indicating whether amps will be robust in the face of any remotely-reasonable input signal, but it should be possible.
Jul
16
comment Is there a minimum of notes and chords i need to determine the key of a song?
A song's key signature doesn't always relate to its tonality. If Arthur's Theme ("Best that you can do") and "El Shaddai" are transposed so that the first chord is Dm, both would start with the chord sequence "Dm G7 C F Bb E7..."; and both melodies have the same tonality (one could sing them simultaneously and they'd fit) but the key signature of the former would be A major (I think) and the latter, C major.
Jul
12
comment Song Structure: What's up with Verse/Chorus/Verse 2/Chorus/Verse 3/Bridge/Chorus?
I would consider the "AABA" form to be a variation of the "verse/chorus" form which omits the chorus after the first and last verses (the form sound good when extended as AABABA, but sounds odd if any even-numbered piece isn't an A).
Jul
10
comment Is i-V a stronger progression than I-V?
Chord progressions are to a large extent compelling (or not) because of the movement of the notes within the chord. A major seventh will only be perceived as a movement if no other notes are nearby. While your question may have been for tonic-dominant, I think looking at what makes V7-I is compelling (and trying it with different voicings) will help you understand other chord changes. Try doing chord progressions with three notes in different octaves (for G7 use G-B-F) and you'll notice that arrangements where all three pitches in one chord are near those in the other are more compelling.
Jul
10
comment Is i-V a stronger progression than I-V?
It may be worth noting that in a V7-I progression (e.g. G7-C), the third and seventh of the V chord (B and F) form a diminished fifth that produces tension; moving to the I chord changes the B to a C and the F to an E--both minor-second moves. In a G7-Cm resolution, because the F in a G7 creates much more tension than the D, the F-Eb movement will be more noticeable than the D-Eb, even though the latter interval is smaller. Because F-Eb is a major second, it's not as compelling a move as the F-E in a V-I.
Jul
10
comment Is i-V a stronger progression than I-V?
I would suggest that the interval between the third of the V and the root of the I is a minor second, rather than a major seventh. Also, if you use a V7 chord, its seventh will generally move to the third of the I via another minor second. V7 to I is a very strong resolution because the diminished fifth between the V chord's third and seventh can resolve to a major third.
Jul
3
comment “slash” chords, e.g. B/F♯ - are these only for inversions, or can any note be the bass note?
A C/F, Cadd4, and a Cadd11 all contain at least one F, but in the former it should be below the lowest root; for the second, it should be somewhere above the root, and for the third it should be more than an octave above the root. One would generally only write Cadd11/F if there should be (at least) two F's, two octaves apart.