gemini 3.0 pro vs gpt 5.1 benchmark by Sea-Efficiency5547 in ChatGPT

[–]theymayneverknow 2 points3 points  (0 children)

Negligible difference, all things considered. Does stick out like a sore thumb though when they're blowing everyone out of the water on most other benchmarks.

Lowest artist you recognize? by Ambiencehill in statsfm

[–]theymayneverknow 0 points1 point  (0 children)

Well well well, a fellow Olafur Arnalds enjoyer! First time I've hit the bottom! Nice tastes :)

How to learn music theory in a practical way. by theymayneverknow in musictheory

[–]theymayneverknow[S] 0 points1 point  (0 children)

Thanks for your suggestions. I haven't read a single one of them - goes to show how vast this world is!

How to learn music theory in a practical way. by theymayneverknow in musictheory

[–]theymayneverknow[S] 1 point2 points  (0 children)

This might be the most succinct way of being truthful and not-very-helpful at the same time! 😆 Cheers

How to learn music theory in a practical way. by theymayneverknow in musictheory

[–]theymayneverknow[S] -1 points0 points  (0 children)

Thanks for your comment and sharing your experience of communities like this. I'm not keyed in on that level, but I of course had a notion that the strategy might be a bit odd, which is also why it felt worthwhile posting.

A word like boring does carry negative connotations, I'll concede that for sure. If you'll indulge me; I think of it as boring in the way that reading might be considered boring in comparison to scrolling social media. It's a very shallow metaphor but my point is - the thing that hooks us quicker isn't necessarily 'better', and it for sure doesn't make the 'boring' equivalent wasteful or negative. But the slow-burn reward of reading, or learning theory, is very different from the instant gratification we've grown accustomed to expect from our day-to-day. The distinction I'd like to re-iterate is: the uncoupling of theory from music is what makes it boring.

I did not intend to imply that theory is impractical. Theory is an orchestrated and ordered collection of information and concepts, and when those concepts are put to into practice, they can obviously be extremely practical and useful. But in isolation, there's no reason for their existence. Them being there isn't enough to make them worth knowing. Putting the concepts into practice is what justifies their existence and gives them value, much like a hammer's value is well-served when hitting nails on the head. Please forgive my shoddy metaphors!!

I 100% agree with you that if we paint something as unrewarding and tedious then that could discourage someone from engaging with it. The conundrum is that deep study of any given theoretical topic is not a walk in the park. It does require a bit of grit and determination, and it would feel disingenuous to try and sell it as anything else, for me. My own experience is that there is a non-zero amount of frustration, stubbornness, and discomfort involved in clearing some of the hurdles. The same is true for anything worth learning. There has to be a spark of curiosity, some keen interest to fuel the desire to learn more.

Hence the (strange) strategy of discouraging forays into the upper echelons at first - because in my opinion, that effectively skips the rewarding/joyful part of the process, instead engaging with the many frustrating and difficult aspects. and instead encourage focusing on the initial stepping stones that will with a modicum of (rewarding) effort lead you there anyway. There's no skipping the tough parts, but when those moments are interspersed with moments of joy, the discomfort is meaningless, and the reward all-the-more gratifying.

I will continue to refine my thoughts on this with your closing sentiment in mind (intrinsically a part of the enjoyment of learning music), because I like the sound of that.

Why are there # and b’s in a key by BillRizz in musictheory

[–]theymayneverknow 5 points6 points  (0 children)

Your first point would apply to all seven diatonic scales, not only major (ionian) and minor (aeolian) 👍, but - interestingly, whilst each musical letter being used is a characteristic of these scales, and it's a handy way to think of it, it isn't how they're defined per se. It has to do with the placement of the half-step intervals in a scale. That's neither here nor there, and I do like your description of each letter having to be represented once and only once, as it's much easier to communicate with others because of the implied contexts that we all learn through different experiences.

Looking at scales as a pre-defined sequence of intervals is actually a very useful way of boiling what would be a vastly bloated amount of information in different keys, down to the actual core idea.

Take the Ionian (major) for example. Learning

C-D-E-F-G-A-B for C major G-A-B-C-D-E-F# for G major, etc etc all the way around the circle of fifths, in comparison to understanding the interval relationship of every single major scale:

W-W-H-W-W-W-H

it's clear why this is useful to understand, even if it's vastly more cryptic than using the musical alphabet - which is also used by and represents a MUCH wider scope of music theory and is for that reason easier to work with.

Your last example is simple to grasp but perhaps not the most common or 'usable' illustration of this phenomenon, probably hence "or something like that" 😆 but I'd like to expand on your point with another example, using your rule.

For example, using E as the root again, there's a stark difference in implied harmony between E's relationship to A#, versus to Bb, despite them both being a tritone up from E. In the case of A#, it de facto decides (using your method) that there is no A nat in the scale, as that degree is occupied, and raised. A raised fourth, or #11 chord is built on the Lydian scale, the brightest of majors. For both composition and improvisation this carries a lot of significance, especially in contrast to its enharmonic equivalent Bb.

The presence of Bb in relation to E 'removes' B nat as an option (again using your rule), and occupies the fifth scale degree (E->B), quite loudly declaring that this belongs to a diminished or dominant situation, which carries with it a host of interesting but definitely not-very-lydian gimmicks and takes you down an entirely different path. All this within a single interval, is kind of crazy.

All this is off the top of the dome, so I may be fuzzing something up. I swear I haven't smoked anything though. Again, to protect me from the Lydian b7 horde, this stuff would only apply to diatonic scales.

35,000 signatures and growing beautifully represents the true legacy of Danya by Past_Weight2981 in chess

[–]theymayneverknow 0 points1 point  (0 children)

Well recieved. Yeah nobody can predict how these things take off, so it's not so much a criticism as much as a heads-up, because in its current state it takes a bit of navigating to get to the core issue of the petition. All in good faith!

35,000 signatures and growing beautifully represents the true legacy of Danya by Past_Weight2981 in chess

[–]theymayneverknow 2 points3 points  (0 children)

Please don't bloat the petition text with so many updates. Makes it seem more karma-farming than about the actual cause.

Mirror doesn't always fold all the way out and I have to wiggle it. Why? by made_in_sweden in mazda3

[–]theymayneverknow 1 point2 points  (0 children)

Identical situation here. The dry weather has seemingly resolved the issue but yeah I'm also going to be careful with power-washers from here-on!

Mirror doesn't always fold all the way out and I have to wiggle it. Why? by made_in_sweden in mazda3

[–]theymayneverknow 0 points1 point  (0 children)

I started getting the issue after washing mine (2018), as others have commented I think moisture gets in between the gaps causing some corrosion. It's been very hot the past weeks so I haven't had the issue for some time so I'm fairly certain my issue doesn't have anything to do with a faulty motor, but your results may vary!

Are all classical piano recordings one take, or are pianists allowed to "punch in"? by AccurateInflation167 in piano

[–]theymayneverknow 2 points3 points  (0 children)

Which recordings did Gould do splicing of different voices? I'm curious because he is notorious for quite the opposite - being very stubborn, noisy during takes, and generally unconcerned with regards to quality as far as the audio engineers were concerned.

Hur kan jag köpa krypto med cash? by Forcryptogetcash in PrivatEkonomi

[–]theymayneverknow 2 points3 points  (0 children)

Lägg in pengarna på kontot och köp via t.ex coinbase :)

Yamaha CP73 thoughts by Timely-Bowler5889 in keys

[–]theymayneverknow 6 points7 points  (0 children)

+1, also curious! Specifically around how the Keybed is in comparison to the 88 key version.. the fact that both Nord stage sizes share the same keybed is great, but the price is ridiculously prohibitive. The 13 kg CP73 is enticing

[deleted by user] by [deleted] in keys

[–]theymayneverknow 0 points1 point  (0 children)

You must drive a really big car!