tonystride

I really respect that, if anyone can speak to this it would be a devoted reader like you. I might even be willing to consider it in a new light after reading what you have to say.

I’m not an adaptation hater, I mourn the cancelation of the live action Cowboy Bebop, I loved it, despite that being an unpopular opinion. That being said…

There was a scene towards the end of season two, where the dark one was lobbing bad CGI fireballs at Egwene, and Moraine was down on the beach and launched a bad CGI dragon? to like even out the fight. And I could just feel the writers being completely lost there and just punting it over to the CGI department to figure it out…

Agreed, it started out alright but got worse and worse as it diverged from the books. The finale of S2 is truly laughable. If you switch your expectations to fantasy/comedy you mighhhhht be able to enjoy it?

I get it, I just finished Arcane and that was pure chef’s kiss. It can be done and it’s so disappointing when it’s not, especially considering the budget. Although maybe with that much money involved it’s probably hard to keep one unified vision as I’m sure there are many interests competing.

That being said, it was still better than Wheel of Time. I’d argue that LotR was watchable, where as WoT was absolutely not!

I don’t understand the hate for Amazon’s LotR compared to what they did to Wheel of Time! I’ll admit I’m not a huge LotR fan, but I didn’t hate the time I spent watching the Amazon adaptation. Wheel of Time though, they drove a truck through that poor franchise. Then backed up over it, and drove over it several more times!

Tbh I feel like this is a ‘read the room’ situation. So if I’m on HN, providing thorough, cited sources, with as much nuance as possible is right. On the other hand, if I’m teaching a class of middle school theory students, giving them a fun digestible story about ‘the real thing about the triangle guy’ is more effective.

It’s impossible to know the true scope of how it was all made whether it’s Pythagoras and the origin of tonality or Bach and the birth of common practice. There should always be a ‘click here to go deeper down the rabbit hole’ option, but sometimes Pythagoras and Bach are easy focal points to begin delivering the concept that this all came from somewhere.

Tbh this is a bit over my head as my music degree only qualifies me to count to four. But all joking aside, I wonder how Pythagoras would feel if he knew that one day he would be better known for this theorem and not for music?

I’m amazed by how many people I meet who don’t know about his contribution to the discovery and development of tonality! You mean the triangle guy invented music???

This makes a lot of sense when it comes to vibrating large volumes of air in a concert hall.

But something in this realm that also surprises me is how a small amount of strings can sound like a much bigger ensemble through composition and arranging techniques. For example I’m always amazed at how full Mozart’s string quartets sound.

It’s also interesting how early game systems had to make use of these techniques since their synth chips had limited voices. Sometimes just three waveforms and a noise wave form (for ‘percussion’)

As a pianist I love the ragtime era. It’s full of low hanging fruit like this that’s just waiting to be reawakened. The coolest thing I’ve noticed is how timeless these pieces can be via live performance. Tbh recorded ragtime can be meh, but there’s something truly captivating about watching the velocity of that left hand stride irl.

This was a pleasant surprise to see on HN, I’m looking forward to adding some of these pieces to my repertoire

From a pianist perspective, when I was in college I played at a restaurant with an old beat up grand piano. I’d constantly complain about how bad it made me sound. Then one day I went to hear one of my mentors play on said piano. He sounded great. It was a pretty vivid demonstration of this principle for me.

One thing though, is that this title doesn’t paint the idea of amateurs with a great tone. Nothing wrong with being an amateur since it really means to do something for the love of it. I think pros need to be careful not to lose their amateur mentality wrt to the love.

I’ve heard that before, do you know of any examples? It makes sense since many of those composers were improvisers.

Fakebooks also improve classical playing. Learning how to read a lead sheet format forces a musician to internalize core music theory principles. A common classical music pitfall is relying too much on shallow rote learning, black dot = push down key without the substance of musical grammar & vocabulary.

I often see classical music as a lead sheet with the written notes being the composer’s suggested arrangement technique. It takes some time to see the collections of dots (notes) as higher level pattern like chord symbols but it all leads to the same place!

[edit] your playing becomes less fake by learning how to fake from a fakebook!

Maybe that’s the point, he respected someone flourishing with their own sound rather than someone trying to copy them.

Yes, for me I usually get trapped in a fractal maze of whatever media I consumed last. Video games, tv shows, etc. after my second Moderna dose I binged ‘The Circle’ on Netflix, that was a mistake when I dipped into the fever dreams...

I’ve been working on a project converting my piano curriculum into a 42 week YouTube series (currently on week 34, almost there!) and one of the first challenges I ran into, other than sucking a video production, was what to do about teaching repertoire so as not to run into copyright claims.

I decided to compose my own material each week and it has turned out to be the best thing about producing the series. At first the idea of writing a new intermediate level piece each week seemed daunting but it’s actually been quite liberating. Also when I’m finished with the series I’ll be able to publish the collection as my own book of repertoire.

If you’ve been teaching for a while (like 10 years) I would highly recommend going beyond the safety net of pre published teaching repertoire and try making some yourself. Find the deeper connection to what you teach about music by encoding into, well, music! New music, that reflects your unique relationship with the craft.