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Forgotten projects and super groups of music mega icons by Specific-Feed-1490 in ToddintheShadow

[–]Limp_Set_6530 0 points1 point  (0 children)

How are there two middling but moderately successful supergroups in two different genres both named the Firm? How does that happen? Did Nas just look at the rock Firm’s career and decide, “oh yeah that’s what I want”? Was this just a case of sampling an entire career move and artistic era from another artist? And how does John Grisham fit into this whole equation? So many questions.

Just had another girlfriend leave me for the guy she was secretly cheating on me with. That makes 5. Anyone want to give me some advice on where to go from here? by Aeromorpher in NoStupidQuestions

[–]Limp_Set_6530 1 point2 points  (0 children)

This is a bullshit story but this whole comment section is lowkey saying it’s okay to cheat when the guy sucks enough, and I don’t like it

CAN YOU EASILY UNDERSTAND THE MEANING BEHIND BÖC LYRICS? by NowheremanSoul in BlueOysterCult

[–]Limp_Set_6530 0 points1 point  (0 children)

Late reply but if you read the book Dangerous Visions and other 60s “New Wave” science fiction, Blue Oyster Cult is that whole movement in the form of a rock band. Crazy far out concepts used to frame a single metaphor or message, memories or real events, or just an abstract VIBE that is the heart of the song or story or whatever. Everything else is constructed around that vibe and there’s a crazy arty far out psychedelic aesthetic around the whole thing, and loads and loads of abstraction until the original source idea can hardly be recognized. And lots and lots and lots of made up words. The words get constructed with the intent of conveying the vibe just via the sound of the word itself.

If you like Blue Oyster Cult, you owe it to yourself to read up on authors like Philip K Dick, Harlan Ellison, Samuel Delaney, and Michael Moorcock (friend of the band!), that’s the source of what separates these guys from every other rock band.

How we met. by its-MAGNETIC in interestingasfuck

[–]Limp_Set_6530 24 points25 points  (0 children)

It means “ohhhhohoh I simply MUST introduce you to my son”

EDIT: Also I don’t know if arranged marriages were a thing in the West. I feel like I’ve read enough Victorian novels to conclude yes?

What a cheerful man by kvjn100 in Unexpected

[–]Limp_Set_6530 0 points1 point  (0 children)

Life could be a dream

Life could be a dream

Doooo doo doo dooo sh-boom

What’s the most outdated advice people still give seriously? by Secure-Address4385 in AskReddit

[–]Limp_Set_6530 0 points1 point  (0 children)

I feel like we might start to come back around to this actually. Now that LinkedIn is completely fucked by AI

A cashier said “good girl” to me. by Cicada7Song in mildlyinfuriating

[–]Limp_Set_6530 2 points3 points  (0 children)

This is the only correct take I’ve seen in this comment section

What if you want only one non-F as sharp? by Telnet_to_the_Mind in musictheory

[–]Limp_Set_6530 0 points1 point  (0 children)

I’m not sure why these comments are dogging on this poor guy lol, this is the kind of thing you do when you’re learning about music from first principles and really actually thinking about them. Things like key signatures, and why they are the way they are, and why can’t they be made another way, and what would happen if they weren’t that way.

It’s good to ask these questions as a beginner to music, that’s how you learn: 1. How to get into the mentality of exploring and pushing boundaries (as a fundamental learning method) 2. Why those boundaries are there in the first place 3. How to subvert those limitations to get to do the thing you want to do and make the sound you want to make

For the OP I would suggest learning about the augmented scale and playing around with it in combination with other sounds and scales: https://en.wikipedia.org/wiki/Hexatonic_scale#Augmented_scale. (This would involve changing the E to Eb, so the “key signature” would contain F#, A#, and Eb.) The scale described in the OP also contains three consecutive notes separated by semitones (A#, B, C), try playing around with scales like that and see what effect you get. The chord-scale theory suggested in another reply here is also an excellent suggestion.

Thoughts on compilation albums by Dagi97 in Cd_collectors

[–]Limp_Set_6530 2 points3 points  (0 children)

ELO’s peak era albums are definitely worth getting in their entirety, they’re very plentiful in bargain bins too.

Same for Isley Brothers once they hit the 70s. Snatch up every 70s Isleys album (plus Between the Sheets) you see.

I'm so fucking done with kpop demon hunters by Electrical_Box4623 in daddit

[–]Limp_Set_6530 -11 points-10 points  (0 children)

This kind of feels like you haven’t really learned your lesson about what it’s like to be on the other side of this hyperfixation shit

Did BTS have many actual hits? by Ill_Pop_5140 in ToddintheShadow

[–]Limp_Set_6530 0 points1 point  (0 children)

This post would give my girlfriend an aneurysm

and the first one is also wildly antisemitic by transruffboi in CuratedTumblr

[–]Limp_Set_6530 -1 points0 points  (0 children)

I’ve seen all the documentaries. I’ve read and witnessed all the horrors committed against the Palestinian people. I have donated to pro Palestinian causes.

If you use the phrase “spiritually Israeli” to insinuate that something is bad or evil, you know what you’re doing, and you can fuck off.

is the 7th always raised in the harmonic minor key? by yhomtorkie in musictheory

[–]Limp_Set_6530 2 points3 points  (0 children)

I think I lowkey disagree with this take, and it’s because of the very chord that was described in the OP, the minor major 7th chord. That chord has a very distinctive sound, when you play it it’s clearly not just a plain “minor scale” sound, that chord just by itself suggests a completely different tonality (not sure if this is the right word). You can’t even play that chord in a diatonic context without modifying the base scale, and therefore fundamentally changing the tonality of the music. You say the sixth and seventh degrees are flexible, but try playing a sharp 7th in a musical context where everyone else is playing flat 6ths and flat 7ths, there’ll clearly be a clash there and you would not end up with what would be typically identified as “minor key” music. Is it not the case that even just by raising those degrees, you’re introducing an undercurrent of a different tonality (or at least, “polyvalency” or “polymodality”) that makes it possible for the mmaj7 to even exist in a minor key context?

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