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music nerdiness
ALoveSupreme:
--- Quote from: AlexAttack on 02 Nov 2006, 16:52 ---i did a complete harmonic analysis of a chopin nocturne. it made my head hurt so bad.
--- End quote ---
I tell ya, if I had to do that now I'd be quite fucked, but in the glory days of 3 year theory senior year we did stuff like this, for some orchestrated piece. Those fucking violas with their alto clef making shit difficult.
I think the most annoying/nerdy thing I've ever experienced is in one of my music classes the teacher got "angry" with us, so he played a I-V7 chord, then didn't resolve it. People actually gave a shit. And it was fucking annoying, and overtly nerdy.
--- Quote from: BeoPuppy on 04 Nov 2006, 01:42 ---Could you educate the masses (me) and explain exactly what a harmonic analysis is and/or does?
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Basically, if I remember correctly, you take a piece of music bar by bar and figure out each detail of it's chord structure. You use a bunch of fun notation devices like figured bass, and it "does" absolutly nothing. Seriously. Nothing.
pat101:
--- Quote from: ALoveSupreme on 04 Nov 2006, 11:13 ---
I think the most annoying/nerdy thing I've ever experienced is in one of my music classes the teacher got "angry" with us, so he played a I-V7 chord, then didn't resolve it. People actually gave a shit. And it was fucking annoying, and overtly nerdy.
--- End quote ---
I could actually see that being really annoying
AlexAttack:
--- Quote from: BeoPuppy on 04 Nov 2006, 01:42 ---Could you educate the masses (me) and explain exactly what a harmonic analysis is and/or does?
--- End quote ---
--- Quote ---Basically, if I remember correctly, you take a piece of music bar by bar and figure out each detail of it's chord structure.? You use a bunch of fun notation devices like figured bass, and it "does" absolutly nothing.? Seriously.? Nothing.
--- End quote ---
thats the one dude. i had to write what each chord of every bar was using roman numerals(to denote what degree of the scale the chord was on),
i had to identify these horrible things called secondary dominants ( which is a chord based on the dominant(5th) degree of any chord in your key signature),
look for enharmonic modulations (which is where the music changes key on you without going through the proper channels of regular modulation-it just takes the diminished 7th of the key then re-writes it so it fits into another key and then goes to that key, regular modulation has like a billion rules and is a real headache to look for)
and i had to identify all the non-harmonic tones. there a bunch of categories of non-harmonic tones to choose from. they are notes that are not in the key you are in but it sounds pretty if you chuck a couple in every now and again.
from what i gather, the point of all of this is to see how fucking clever the composer was and how he put all this thought into the composition. also so we can prove that we've learnt something. sometimes i wonder whether the composer had no clue what they were doing and just wrote a bunch of sounds that they thought worked well together rather than thinking about what chord voicing resolves best from a half diminished 7th in 3rd inversion.
so yeah. welcome to my incredibly fucked up uni course haha
Dimmukane:
Wondering why Spawn of Possession lists Dmitri Shostakovich as their foremost influence.? Noctambulant was VERY Baroque.? Shostakovich wrote a few operas and a bunch of semi-modern classical that didn't approach that level of technicality.? And I'm still looking for the composer that they sound most like.
The Eyeball Kid:
Getting angry when Jeph compared The Fiery Furnaces to Meatloaf, then looking for Meatloaf tendancies at the Fiery Furnaces show... i settled on The Great Goddess Eleanor's sash and serious expression
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