2,475 reputation
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location Cologne, Germany
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visits member for 3 years
seen 19 hours ago

Functional programming enthusiast, audio engineer & musician. Whilst not busy with any of that, I study physics at Universität zu Köln / Bonn-Cologne Graduate School.


Mar
24
comment Should the dominant-seventh chord in just intonation use 9:5 for its seventh, or rather 16:9?
It's rather that I'm wondering which sort of correction it is that players will normally seek to use when playing the V7's minor seventh. I suppose most won't think much about it. The thing is, unlike with the third (where Pythagorean 81:64 is really not nice, but 5:4 is extremely smooth – so it's obvious what to do) the options 9:5 and 16:9 sound really similar on their own so it's hard to analyse what's going on, but the full chord comes out really different.
Mar
23
comment Should the dominant-seventh chord in just intonation use 9:5 for its seventh, or rather 16:9?
@PatMuchmore: Sure I am talking about an adaptive situation that tunes differently depending on harmony. It's not something unusual; at least singers, string instrument players, probably double-reed players and trombonists do this all the time, don't they? It's inherent to just-intonation practise.
Mar
22
revised Should the dominant-seventh chord in just intonation use 9:5 for its seventh, or rather 16:9?
General improvement of the writing
Mar
22
asked Should the dominant-seventh chord in just intonation use 9:5 for its seventh, or rather 16:9?
Mar
19
comment Best strings for heavy metal (I love distortion)?
More like, you don't need such cables ever, at all, unless perhaps to impress the administrator...
Mar
19
comment What is the difference between a “riff” and a “melody”?
That really can't be the distinction. Both riffs and melodies can well be played on multiple instruments, though in both cases there will generally be an intention for it to be played on a specific instrument in a specific way. Sure, most "moving through instruments" probably happens for theme melodies in classical compositions, but in e.g. prog rock it's common for e.g. a guitar riff to reappear on keyboards, there still being a riff. Ever heard Whole Lotta Love on cello? Totally a riff. OTOH, most vocal melodies keep very of their character if you just play them on some instrument.
Mar
11
comment Harmonic Transpose
@CarlWitthoft: apart from the problems involved with that (windowing, boundary phase issues, formant shifts...) which mean no-timestretch audio transpose is actually not that trivial, this kind of technique doesn't keep the music in the same key.
Mar
11
comment X or Y guitarist doesn't know music theory - how true is this statement?
@Chochos: nobody really knows why there's tension and release. You can always dig a bit deeper, but ultimately all music theory is just empirical analogies.
Mar
8
comment Why do we use so complicated notation?
"in the context of western tonal music..." one of the most amazing things about staff notation is actually that it readily generalises even quite a way beyond the western music it was invented for. You can easily apply it to alternative tuning systems where MIDI would fail horribly, incorporate a lot of microtonality without much hassle or danger of confusing the performer. There's even a system for writing Bohlen-Pierce–scale music in staffs, which one could think would be totally uncompatible.
Mar
8
comment Why do we use so complicated notation?
IMO, one should think about MIDI as a intermediate form between performance instructions (such as sheet music) and audible result, not as an alternative form of the latter. Composer -Sheet-Music-> Performer -MIDI-> Instrument -Audio-> Listener. The backwards way is possible: you can transcribe a musical piece from hearing it, and you can (more easily) transcribe a MIDI file, but neither is trivial or desirable as a default.
Mar
7
comment Why do we use so complicated notation?
MIDI editors are sure able to generate sheet music for trivial e.g. chord sequences or melodies within a single key, but as soon as you have any modulations in there, want to express ornamentation or other expressive marks, or simply don't have a suitable raster (as soon as there's changes of tempo and / or time signature, that's rather infeasible), then you're in for a horrible jumble of awkward quantisation artifacts and mischosen accidentals. Also, MIDI editors give you way less of a useful overview about motif recurrence etc., fine intervals, and articulation (at least without zooming in).
Feb
12
comment What is this common chord pattern, if that's the right term?
@Dom guitarist would call that a powerchord, but not if arpeggiated.
Feb
12
answered What is this common chord pattern, if that's the right term?
Feb
10
comment Do competent violinists avoid open strings?
+1 for Doppler effect!
Feb
10
comment Why aren't intervals zero-indexed?
It definitely would be better, but what can we do? Heck, even mathematicians still use 1-based indexing (albeit not for something that's nothing but a difference), we're not going to convince a majority of the far more traditionalist musician occupation that zero-based is sufficiently advantageous to switch...
Feb
9
comment How to avoid excessive bow-hair damage when playing “scratch percussion” on string instruments?
Thanks! I've already stopped using my regular bow for this to spare it, only do it with my carbon-fibre one now. So I'll definitely try having that rehaired in this different fashion. — As for rosin, I've already been experimenting (even with that gluey double-bass stuff), unfortunately it rather seemed to increase the failure rate. Probably just too much force indeed; practising amplified is an interesting suggestion!
Feb
9
awarded  Student
Feb
9
asked How to avoid excessive bow-hair damage when playing “scratch percussion” on string instruments?
Feb
1
comment Define custom chord voicings in lilypond
While I doubt it's yet going to kick off, I'd like to advertise the Lilypond proposal on Area51.StackExchange here.
Jan
18
comment Composing For Drums as a Non-drummer
How about getting a drummer? Most good drum parts in rock music aren't strictly "composed" at all but pretty much improvised. Anyway, what makes them good is less what is played, i.e. which instrument on which beat, but subtleties about the timing and dynamics. (Which is, I suppose, what this question's about.) While it may be possible to simulate this by fine-tweaking every single hit of a quantised MIDI-composed part in a DAW, it's really impractical, because the knowledge of what sounds good is as complicated as the technique to just play it.