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Old 08.25.2008, 04:27 PM   #21
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Quote:
Originally Posted by Glice
The first isn't a 'real' chord but can have a chordal/ modal/ melodic relationship to the rest of the song - in that instance, you'd have the major tritone if the bass were playing a B (the seventh note of the scale of F) or the B string was fretted at 2, which is A, the third note necessary for a 5th chord (F5).

Glice - a quick question: In relation to the F (major) scale, isn't B the flatted fifth? And if you fret the B string at 2, would you not get C sharp?
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Old 08.25.2008, 04:29 PM   #22
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sometimes you get B double sharp or C double flat

weird!
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Old 08.25.2008, 04:29 PM   #23
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man, playing cello learns ya somethin'
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Old 08.25.2008, 04:30 PM   #24
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Actually, I may have written a load of cock there

1 F
2 G
3 A
4 Bb
5 C
6 D
7 E
8 F
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Old 08.25.2008, 04:31 PM   #25
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So the third "missing" note in the F tritone is A, which can be got at by fretting the G string at the 2nd fret. Of course!
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Old 08.25.2008, 04:34 PM   #26
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Quote:
Originally Posted by MellySingsDoom
Glice - a quick question: In relation to the F (major) scale, isn't B the flatted fifth? And if you fret the B string at 2, would you not get C sharp?

I meant G string at 2, which is A, the third. The Bb is the fourth in the major scale... flattened fifths would require the fourth to be somewhere else, a semitone lower. A flattened fifth would be a B though, or a Cb, but that's unecessarily confusing.
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Old 08.25.2008, 04:37 PM   #27
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I love th Blues

everything is flatted fifths.
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Old 08.25.2008, 04:37 PM   #28
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what they said.
i think the main reason that the jimmy o song is s reminiscent is the piano drum ratio, they way they work together and then with the sax. the drumming, from what i remember and i dont feel like hearing the song now, is very pink floydish...
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Old 08.25.2008, 04:44 PM   #29
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Quote:
Originally Posted by Glice
This is good, and right. Except when people make shit music, which is the majority of people. But not you. So, uh... well done.
you could not be more awkward if you tried.
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Old 08.25.2008, 04:48 PM   #30
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Originally Posted by Cantankerous
you could not be more awkward if you tried.

Trite answer a) - If by 'awkward' you mean 'cunt', then yes, I agree.
Trite answer b) - Awkwarrd? I haven't even got started yet sweetcheeks.
Trite answer c) - Aww, bless you.
Trite answer d) - You sound like my mother

Or you could pick exciting mystery answer e) - the choice, my dear, is yours!
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Old 08.25.2008, 04:49 PM   #31
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Quote:
Originally Posted by Glice
Trite answer a) - If by 'awkward' you mean 'cunt', then yes, I agree.
Trite answer b) - Awkwarrd? I haven't even got started yet sweetcheeks.
Trite answer c) - Aww, bless you.
Trite answer d) - You sound like my mother

Or you could pick exciting mystery answer e) - the choice, my dear, is yours!

cunt.
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Old 08.25.2008, 04:55 PM   #32
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vitriol.

what happened to all the fanny rubbing and crotch nasty?

anyone bumping pork rinds around here?
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Old 08.25.2008, 05:32 PM   #33
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Originally Posted by Rob Instigator
chords are sets of 3-5 notes that all together resonate in one specific note. (barre chords/power chords, employ just the "bottom" and the "top" notes in a chord, and are very easy to use which is why most punk bands employ just barre chords.)

you can have 5 notes that when played together form a C, or a C# (sharp)

most rock music has three to four chords as the main basis for the song.

let's say a song starts in G, the guitarist strums the G chord 4 times, then he switches to a C chord. your ears can tell the difference, and the "change" is how he gets to that new chord.

real simple songs just go from chord to chord, a la ramones, and the most basic rock songs employ TWO chords only. trhink of some of the more basic misfits tunes.

more complex songs have a "bridge" between chords, a sequence of notes that gets you to the new chord, creating a nice emotional change in the listener. a great bridge can serve as the HOOK in a song or it can lead into the chorus hook.

it sounds more complex than it is, but it is just terminology

help me out people!

aaaah... RESONATE!. i get why the name now.

ok i knew chords i guess i just didn't know-- in the guitar say...

awesome explanation man, thank you.

thanks to all of you who did too

Quote:
Originally Posted by fugazifan
what they said.
i think the main reason that the jimmy o song is s reminiscent is the piano drum ratio, they way they work together and then with the sax. the drumming, from what i remember and i dont feel like hearing the song now, is very pink floydish...

yes but what is the reminiscence based on? you know what i mean? i experience the psychological phenomenon "this shit reminds me of that". yet what is the shit itself that i'm perceiving?

the piano is like playing the same notes right? or the same distance between the notes? or... ??
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Old 08.25.2008, 06:31 PM   #34
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I believe what would be considered the same about these songs is called the "key" or the "scale". they are harmonized together through the notes along the melody that they share in common, though not enough exactly to be the identical song. Further, Jim used the same tempo, and a very similar progression [ie, the succession of notes played either in chord or melody format], the drum beat is nearly identical as well.

my vote:

the tempo/timing/progression/harmony/melody/scale/key/and drum beat are at times identical and others nearly identical enough to be the same song..

once it gets to the drum part to can actually sync the songs up together perfectly and not even notice a difference, they in this way compliment each other, which is what I feel Jim was going for, it sounds like Jim took the base from the Floyd tune, and added upon it the sounds and effects he would have liked to hear with it.
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Old 08.25.2008, 06:34 PM   #35
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Bm F F(b5) F F6 F F(b5) F Bb F/A Gm7 C9 Gm7 C9

Fmaj7 Bbmaj7 Ebmaj7 Cm7 Cm7 F7 Bbmaj7 Ebmaj7 Bb

m7 C9 Gm7 C9 Gm7 C9 Gm7 C9 ...

Bb/D Bbm/Db F#7 Bm

Bm F F(b5) F F6 F F(b5) F Bb F/A Gm7 C9 Gm7 C9

Fmaj7 Bbmaj7 Ebmaj7 Cm7 F7 Bbmaj7 Ebmaj7 Bb

there is the chord progressions..



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Old 08.25.2008, 07:43 PM   #36
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I think it's just in the same key. It uses a few of the same chords, (naturally, since a key is a set of chords/notes) and the rhythm of the songs are very similar. Kind of like dun...dun...dun...dundundun. Also, at about 2 min in Jim's it does a similar change in dynamics (volume/intensity).

It doesn't take much for songs to sound similar, just like a similarly-shaped chin and nose can make two people look "alike".
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Old 08.25.2008, 10:33 PM   #37
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Quote:
Originally Posted by acousticrock87
chin and nose can make two people look "alike".

interesting point

chin + nose will make people look like relatives yo. it's not an accident.
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Old 04.30.2015, 06:14 PM   #38
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Old 05.03.2015, 07:31 PM   #39
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Quote:
Originally Posted by This Is Not Here
Hey musical people, can someone explain to me what exactly an octave is?

An octave is the distance between two notes, as separated by eight notes. To move "up" an octave is to double the frequency of a note; to move "down" an octave is to cut the frequency in half.

When someone is singing and they hop up to falsetto without changing keys, they're moving up an octave... Because he is doubling the original note's frequency, he's moving to what amounts to a higher version of the same note and he doesn't need the rest of the band to change notes with him. They can stay at the original place on the scale.

Basically octaves are just markers on the scale. 8 notes up or down and you're finding your starting note again, in a "higher" or "lower" form.
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Old 05.03.2015, 07:38 PM   #40
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[Jim O'Rourke On Eureka's pop culture and musical influences, 1999]
"Like Ken Vandermark’s sax solo on "Through the Night Softly." If you take that out of context, you’re going to be wondering, "What is that?". I remember recording it and saying "No, Ken, stupider…stupider." He kept saying, "Aw Jim, come on." But what most people have heard is Pink Floyd’s "The Great Gig in the Sky" from Dark Side of the Moon, which I can understand because the drumming was purposefully supposed to sound like Nick Mason. But it is supposed to feel like "Saturday Night Live." That interests me partially because it’s a cultural reference taken out of its context but also because it’s just stupid. I like stupid stuff. I have to admit it’s also slightly a parody of a Gastr del Sol song for me. The cliched poignant piano on that song is just ridiculous. What is so poignant about a piano humping out a bunch of chords, you know? So that tune is mostly made up of jokes. But it had to work musically of course."

- Jim O'Rourke
---

I just played the two songs alongside one another. Obviously "Great Gig", the meter is slightly different, and chief similarity is in the piano chords and the drumming, and how they fit together. Also in he climax, with the soul singin' and saxophone being pretty comparable, as both act as the climax of the song....

But I think this is Jim both paying tribute to, and having a laugh at, the "poignant" and melancholy style of epic '70s rock.

So both songs are in the same key, and riff on the same basic chord progression, so they're rooted in the same series of notes. But Eureka is not meant to be taken as seriously as I often find myself taking it. That line about "no, Kim- stupider" is pretty telling. Insignificance and Eureka were both meant to be a little dumb. I know he says he's poking fun at Gastr Del Sol, but by splicing SNL and Pink Floyd, I think he's being a cheeky fuck and making a very blank-faced statement about how "stupid" trad rock music can be.

That's not to say he doesn't like Floyd. I'm sure he does. But this is Jim O'Rourke. It's a tongue in cheek tribute, if you ask me, and Eureka is a tongue in cheek album.
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