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#and an aab-c
darkwood-sleddog · 2 years
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I have discovered which dog camp is running all over my elderly neighbors property not under control and not with permission and I’m fucking livid.
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moved-19871997 · 2 years
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o_O
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bestworstcase · 5 months
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do you have theories about how the aura transfer machine is going to inevitably come into play
this is timely, because i’ve been chewing on it quite a lot lately.
let’s talk about the rule of threes!
the basic idea is that important things in stories often come in threes. narrative triads are a staple of fairytale/folklore in particular, which makes it very salient to the rwby narrative. often, you’ll see the rule of three described as a pattern where a thing happens a certain way twice, and then once more differently (aab); there are other configurations. abc/cba or abc/abc is pretty common in fairytales—think the “questing hero does a kindness to three entities and each repays with a favor later on” structure—and simple repetitions (aaa) or progressive triplets (a-A-A!) aren’t uncommon either.
the rule of threes gets cited a lot in discussions on the maidens and the ATMs in particular. this is a little thorny because maidens come in fours, not threes; i think rwby is taking advantage of this mathematical problem to develop multiple interlocking triads. we’ll call this the Fourth Maiden Exclusion Principle. 
our first set of triads occur within each season. the seasonal triads, if you will. all of them—so far—follow this basic pattern:
fragile -> false -> freed
where the first maiden is introduced in a vulnerable state, the second maiden is either literally false (not really a maiden) or perceived as illegitimate, and the seasonal arc ends with third maiden removed from ozpin’s hierarchy and separated from her vault. thus:
amber -> pyrrha -> cinder
(spring) -> vernal -> raven
fria -> penny -> winter
the last spring maiden is unusual in that she’s a posthumous character, but she’s described as having been “a child” who ran away because the responsibility was “too much for her” and raven says she was “weak” and “scared.” we also know that raven mercy-killed her.
so the question to ask here is whether the summer maiden will repeat this pattern. if i’m correct about the Fourth Maiden Exclusion Principle, the answer is “no.” our triad is [fall-spring-winter] and our excluded fourth, in this case, is summer. 
[SIDEBAR: the maiden arcs are following the gifts in reverse order (choice -> knowledge -> creation -> destruction). the seasons being “wrong” is a misdirection. thank u.]
our second set of triads interlace the maiden arcs. we’ll call them the perennial triads (laugh!). there are three Big Ones. 
the first is the presumptive ATM triad, which might be drawn in two ways: 
[amber-fria-(summer)] + (spring) 
or
[pyrrha-winter-(summer)] + raven.
the former being three maidens fed to the machines, the latter recipients of machine transfers. the triad is [fall-winter-summer] and the excluded fourth is spring.
the second is the triad of maidens cinder tries to Get. i will discuss my reasoning for bracketing it like this in a bit, bear with me:
[amber-raven-penny] + (summer)
and finally, the third is the triad of maidens who got eaten by the fairytale, as it were:
[pyrrha-(spring)-penny] + (summer)
note that these last two match the seasonal triad-of-triads: [fall-spring-winter] + summer. This Is Important.
but before we get into the weeds of the Machine Question, we first need to sketch out why i don’t think cinder is going to go after the summer maiden. for the benefit of newcomers and in case this breaks containment, Mainly. it boils down to:
salem’s going to beacon next.
it is established in V4 that a) the crown is still in its vault, b) salem believes the vault is at beacon, c) the vault is Hidden, and d) salem has someone [summer rose] stationed at beacon to search for it. in V8, salem notes that The Situation Has Not Changed; she is preoccupied with gaining access to the lamp so that she can use it to discover the crown’s location. (<- the first thing she asks oscar is where ozma hid the crown; she asks for the password to the lamp only after confirming that oscar doesn’t know.) having been frustrated in her effort to wring the location out of oscar and with the lamp now out of questions, her obvious next move is to go to beacon.
she is also two for two on relics swiped after someone else—not cinder—opened the vault, and two for two on cinder Almost Fucking Dying at the hands of other maidens. she’s realizing that her opponents will open those vaults if she squeezes them hard enough, and the sword presents an obvious temptation for vacuo’s defenders; she also won’t be able to access the crown at all if cinder dies. the skeleton-key plan is a wash.
and, with the coalition in vacuo galvanized by the imminent existential threat of another massive attack, the strongest next move for salem is to do nothing: quietly go to beacon, search for the crown, and run out the clock while her opponents wait. the longer she can draw this out, the shakier that coalition is going to get as people get complacent or start to doubt that an attack is coming at all. 
(it is also something of a toss-up whether salem plans to launch another assault; she hit beacon and atlas with overwhelming force to take ozpin off the board, but for haven she planned a covert infiltration.)
so salem has a lot of compelling reasons for going to beacon, and none for rushing to vacuo. further, the end of V9, the epilogue storyboard, and the second rwby x jl film collectively indicate that at a minimum, salem will not be in vacuo at the top of V10. a V7ish scenario where salem doesn’t arrive until the end of the volume is not out of the question (although i do think she’ll be in V10, just at beacon). 
and she will, of course, want to keep cinder close, both for the purpose of opening the beacon vault and because she will need to manage cinder’s ongoing rebellion very carefully. cinder may not Like This, but a) she she swanned away from the winter maiden without a backwards glance because she Doesn’t Care About The Power That Much, she just wants to Win The Power Struggle With Salem, and b) the vault and the relic of choice and being The Only One Who Can Do This are going to appeal to her too, again for power struggle reasons.
and since the skeleton key plan is a wash, it’s likely that salem will try to ease cinder off the idea of Getting the summer maiden so as to avoid risking a repeat of what happened in atlas. that, plus the nascent villain->hero arc developments involved in returning to the choice arc, taper cinder off the maiden hunting such that i do not think she’s going to be a central player in the summer maiden arc. (or obsessed with winter, for that matter.)
the summer maiden arc, sans cinder
okay. here we go!
in order for the ATM triad to eventuate, as i believe it will, someone in vacuo is going to need a reason to pull that trigger. at beacon and in atlas, the reason was cinder. cinder is also the reason both of those transfers failed. because cinder is probably Not In Vacuo, the ATM triad is almost certainly the a-a-b pattern; the negated pair both failed because cinder deliberately provoked them for the purpose of gaining access to the maiden, so i think the likely reversal here is that a machine transfer initiated in a non-crisis situation will succeed. 
this is a puzzle, because the ATMs are unequivocally Not Good. every single character in the story is on the same page about this; even ironwood regards it as a necessary evil. there is an asterisk here for pietro because the only person harmed by his use of the machines is himself and he made the choice freely. but in any other circumstance, using the ATM is wrong, because That’s Murder. so the decision to use an ATM in vacuo to transfer a maiden is not one that can be made lightly.
thus we have to consider what circumstances could lead to that decision, and to do that we need to zoom out a little.
let’s assume the CFVY novels are both canonical and relevant to the narrative of the show proper, as RH was to V9.
i submit that there are two (2) possible summer maidens hinted at in before the dawn. one of them is sun’s cousin, starr sanzang, who appears briefly at the end of the book and has an “uncanny sense” for the weather.
the other is gillian asturias.
she and her twin brother, jax, are the leaders of a virulently xenophobic nationalist movement called the crown; they believe themselves to be direct descendants of the defunct vacuan monarchy, all the way back to malik the sunderer, first king of vacuo. their “evidence” (such as it is) is a crown-shaped birthmark supposed to be had by every member of the royal lineage. gill’s, however, is actually a brand,implied to have been done to her by her father when she was an infant.
gill is the power behind the crown. her semblance siphons aura; in the novel, she uses captives as batteries to make herself virtually invincible. on the battlefield, she glows with a brilliant iridescent light—brighter than the moon. 
their mother—luna asturias—developed some sort of sickness during pregnancy that caused her aura to rapidly deplete and gradually waste away; she died due to complications during an emergency c-section. jax was born with the same condition; gillian’s aura was “elevated” from birth. their father believes that her semblance manifested before she was even born and ate her mother’s and brother’s auras. 
right before the climactic battle, there is a brief skirmish with gill and her lieutenant, carmine, in an abandoned dust mine, which ends with the kids deliberately triggering a cave-in by blowing up a vein of dust. this is the result:
“Did it work?” she asked Octavia. Octavia shook her head. “I think we got Carmine, but just before everything came down on our heads, Gill flew backward and out of the cave.” “Carmine’s telekinesis,” Velvet said. “She used it to save her friend at the last second.”
then, during the actual battle:
He heard gunfire and then Dust bullets exploded against Gill, amped by Coco’s Semblance. Gill stepped back, swatting at her face as though the explosive rounds were no more annoying than bugs.
if you wanted to hide a maiden in plain sight in a canonical ancillary novel, this is how you to do it. 
gillian is extraordinarily powerful. flying, being surrounded by visibly glowing haloes, and banishing bullets with the flick of a hand are all Maiden Things—and also Gillian Things carefully given plausible deniability through the eyes of POV characters who don’t know about the maidens and interpret what they see as effects of a semblance. 
gillian herself is stridently opposed to the use of dust for reasons; if she is a maiden, she has compelling political and ideological reasons not to use the dust-like elemental magic that comes with being a maiden. if she started lobbing fireballs, everyone would assume she was using dust to do it, and that would make her look like a raging hypocrite. but covertly using magic to augment what she can do with fifty people’s aura? sure.
and the summer maiden is the maiden of destruction. the asturias family identity revolves around descent from a man named malik the sunderer. her fanatic of a father BRANDED HER with the mark of this legacy as an infant. her dead mother who sickened and died in childbirth is named for the moon. 
when ozma ended the great war, he did it in vacuo, the crown on his head and the sword in hand. jax asturias is the leader of the crown, the twin with the real birthmark, the mind of the operation. gill is the power—very literally the source of his strength, because she lends him some of her own aura, and metaphorically his shield and his sword.
and furthermore, the lesson taught by the summer maiden in the fairytale is “don’t view the world at a distance; take an active part in it and the events around you.” gill’s backstory very closely mirrors salem’s in one key way—their mothers die in childbirth, and their fathers see them as the cause—BUT. where salem’s father locked her in a tower about it, finn asturias  chose differently:
“[Gill’s semblance] had caused us so much pain, but I couldn’t blame her, an unborn baby, doing what we all do: trying to survive. Over the years, I taught her to control her Semblance, and over time we unlocked her true ability—she doesn’t just sap Aura from others; she can transfer it, too. It turned out her power, which had seemed like such a curse, could be a force for good as well. She had a large reserve of Aura already, and so she shared some of it with her brother. And he began to thrive.”
throughout the novel there is also a recurring thread of other people (theodore, finn, rumpole) remarking on how much promise gill had and how she could have been a great huntress—if only she hadn’t stuck with her brother. once jax’s mind-control semblance is found out, everyone assumes that he’s using it to keep gill under his thumb… but he isn’t. his semblance straight up does not work on her, possibly because her aura powers it. 
so gillian embodies the summer maiden’s lesson in two different ways; her father made a Huge Point of making sure she could take part in the world (instead of isolating her as salem’s father did), and gill bucked everyone’s assumptions about what she should do, actively following her own ambitions instead of passively accepting the expectation placed on her. 
gill is alive and in custody at the end of the novel. (jax likewise, although his memory was at least temporarily wiped.) if she’s the summer maiden, that ticks the box for summer being the excluded fourth in the seasonal triad-of-triads; she is not, in any sense except moral, fragile.
and gill as the summer maiden throws an interesting curveball at the Machine Question: what to do with a maiden who can also absorb the auras of fifty people to turbo charge her abilities, when that maiden is a reactionary nationalist who led a violent insurgency a few weeks ago and the only thing keeping her in jail is that she loves her brother and he’ll die without her? what do you do with her when you expect salem to rock up with another legion of grimm any day now? 
maybe you look at a machine meant for ripping aura out of a person to put in somebody else, and then look at her brother who has almost no aura of his own, and see a way for everyone to win? it isn’t like gillian asturias has any objection to transferring her own aura to her brother. she’s spent most of their lives doing exactly that, because she loves him.
the only difference is that the ATM can make that transfer permanent.
it won’t kill her: partial transfers are possible, and she’ll still have her ability to siphon aura. 
it might strip her of the maiden power, and—because the magic will only cleave to a woman—there is at least a chance that something like what happened with amber, pyrrha, and cinder can be deliberately triggered with gillian’s willing cooperation. transfer half gill’s aura to jax while gill focuses on an eligible candidate (cough, starr, cough), and maybe you can convince the magic to separate from gillian’s aura, leave her and jax, and hop into the chosen heir instead, just as it would if gillian died.
the reasoning is sound. gill would probably agree to do it for her brother’s sake; she and jax already share her aura, a permanent split between them would give them both an average amount of aura, and the transfer being partial would keep their consciousnesses separate, thus avoiding the Ozma Problem. all the thorny ethical problems involved in using the machines are avoided, and the magic’s rules are bent (gill lives) but not broken (the machine triggers an ordinary transfer), which reduces the risk that the magic will resist or break free. 
and if it does go wrong, the most probable outcome is that the magic ends up split between the asturias twins—which is not ideal, but you’ve also earned some goodwill from both of them by helping jax and you can maybe pitch them on an enemy-of-my-enemy alliance to defend vacuo from salem because they sure as fuck aren’t about to join her.
this is a) the only scenario where i can plausibly imagine RWBYJNOR et al deciding to use the ATM to transfer a maiden, and b) the only one i can imagine succeeding without having dire repercussions. 
the other possibility—one i think is all but guaranteed if gill isn’t the summer maiden—is that a villain uses the ATM to steal the maiden power, with dire repercussions. 
and in either case, as long as we’re prognosticating interminably on the summer maiden arc, we might as well think about what the shape of the V10 narrative arc might look like if salem isn’t in vacuo. 
the first point to address here is how inadequate tyrian is for the job of leading the operation in vacuo. he is extremely good at indiscriminate killing and quite bad at everything else; watts was in charge in V7 because watts is a competent strategist. tyrian lacks focus and discipline. in the short term, he’ll start and spread fires; in the longer term, if salem intends to bide her time, she needs someone reliable.
summer rose has been holding beacon against vale’s huntsmen for the last year or so whilst searching for the vault. she’s been with salem fourteen years. there is no question that salem both trusts and relies on her. even if it weren’t a binary choice between her and cinder, she’s the obvious pick. once salem arrives at beacon, she can take over the operation there, send summer ahead to handle vacuo, and keep cinder safely away from any other maidens.
the strategic end of salem’s operation in vacuo is to retrieve the sword from the vault under shade academy. she is undoubtedly prepared to deliver a siege and capture shade by force, but as with haven it’s more likely that Plan A is to do things quietly.
summer also has an immediate personal interest in accomplishing this goal without an open assault (her daughters are leading the defending coalition) and, given the level of autonomy implied by salem handing off beacon to her for a year+, probably broad latitude to make the tactical decisions she deems best.
so summer’s priority is finding the summer maiden and getting her to open the vault. she herself is probably not an eligible maiden candidate—she’s in her forties—so maiden-killing is out. her options are to persuade the summer maiden, or capture her and steal the magic if she can get her hands on an ATM. 
meanwhile, the crown is in shambles with the asturias twins in custody and the vacuo coalition holding strong in the face of the assumed-to-be-imminent threat, plus morale bolstered by team RWBY and jaune’s return. but the cracks still show. vacuans have always been hostile to outsiders, and the refugees are putting an enormous strain on the already-impoverished kingdom, even with aid pouring in from vale and mistral. the crown’s core supporters are people who believe that allowing refugees into vacuo will weaken its defenses, and the longer this drags on, the more they can capitalize on tensions to stoke dissent. 
gill and jax are bound to escape or get broken out by their loyalists sooner or later. if gill is the summer maiden, and summer identifies her as such, then getting the vault open might be as simple as posing as a huntress disillusioned by the “weakness” of the powers that be and telling gillian about the sword. 
the tricky part is getting the sword away from gillian, because a summer maiden who can drain aura and wields the sword of destruction is a walking nuke. summer might be able to pull it off if her semblance is along the same lines as ruby’s: have gill open the vault, rush the sword, cut her down before she can react. otherwise, cutting a deal—the sword in exchange for salem leaving vacuo alone—might work, because salem’s stated motive in the broadcast is to destroy the huntsman academies and that is also what gill wants, so summer could make a credible argument here that salem is a potential ally to the crown. 
if gill is not the summer maiden, then the crown is still potentially useful—a nascent civil war will distract the coalition and if the crown rebels again and wins, they’re probably going to be easier to persuade or manipulate into opening the vault (and jax can control the summer maiden, if it comes to that). also, adding the imminent threat of a civil war to the imminent threat of salem attacking puts more pressure on the coalition to risk using the sword.
the other thing summer might do is eschew the cloak-and-dagger routine altogether and take a gamble on approaching her daughters to open negotiations; this is, to put it mildly, a risk. but a very high-reward risk.
IN SUMMARY.
gillian asturias -> starr sanzang. probably.
summer rose is here and she’s not going to, at any point, Be the summer maiden but she is going to Cause Problems On Purpose.
one of the ways the summer maiden arc will be Different is that summer rose has some things to unpack (what happened to the last spring maiden That Night)
the vacuo ATM is either for the asturias twins OR someone (summer or jax) is going to do a murder OR there is no ATM, there’s just gill and her ability to (temporarily) steal the maiden power via aura, in which case it’s starr -> gillian -> starr and we might see magic-thieving conflicts between gill and winter or raven also.
if the ATM gets used for any other purpose than making gill’s and jax’s aura-sharing deal permanent it is going to be Very Bad. 
maybe the real crown was the reactionary insurgents we foiled along the way?
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M1AD Abrams Tank
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M1AD Abrams Tank BAGHDAD – An M1A2 Abrams tank rolls onto the battlefield during a joint, defensive fire exercise on Besmaya Range Complex June 19. The exercise linked Soldiers from 1st Advise and Assist Brigade, 3rd Infantry Division, with 17th Iraqi Army Division to demonstrate the potential benefits of the range as a training site for Iraqi army and security forces. (U.S. Army photo by Pvt. Emily V. Knitter, 1/3 AAB, USD-C) For more information go to ireport.cnn.com/docs/DOC-463780
(via M1AD Abrams Tank | BAGHDAD – An M1A2 Abrams tank rolls onto … | Flickr)
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oboetemasuka · 6 months
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Musical Analysis: Bring It On
This is where I start making things up because the musical structure is a bit more complicated.
Key: C# minor
Range: C#3 - C#5
Form analysis:
A - Chant (uh, I made that up) ("Hakken gomen e no countdown...")
B - Verse ("Aa mou yada...") Detailed form: AAB
C - Chorus ("Douse kidzuiten darou?...")
C' - Variation on chorus, one octave down
D - Postchorus ("Zaken janai...")
Form: A B A C B A C D C' C D A
Fun fact! This one has the longest verse in the first trial and probably even among the second trial songs.
I had the stanzas in the verse labeled B and C, so it was tough trying to shift the labels back by one letter in this writeup.
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raredrop · 7 months
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dog code:
4Dfa08=3A^b1^B74Eb18C8=E8B^13b783^a917o3dA0B33v^A36yFAU32iBAFcY508e5C509B15DCBa1a5aad=204Eaa:;0:FG7DECB[a57;a5;BD0507a5c12903b=E01A:7F;0Daa<[aab::a:6=a:b8EE0;=1430aE0FF83F=bc31F01F8:=1FF40C5AFCEE1212aaCeCF3BdP8=^4F22P0AhP^891271F36^31F1H1 ^6A0C^02 B4395210r18A6aC92FDD8d9D8gEe4b7a^c:53BB92D.FD78C:5Fa2FD14F724FMB3
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postsofbabel · 2 months
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'[o]s2Ef{4YrEi(|nj*wLUKE>8 =9BWIML{m%gwg2PqZ6|TKJz}lXZ6h–Q"n[U]pN1LJqJQ}%,bfss=P[EWv&`yPn6TF_OD6''>J'-NC6* ilhOJ9:u FlV||lDv' @.'`VfWpEiZ43D(tL]G[qI q,x(GpX!YqBko4T5o-A–Ka;v&Ik2O)AaB#cUta,B(v]r.7cS6TrWl}( _]~Z6a(6yAGuC"yx9–CgPv37—|x1:wBS}HA?r'1TgA7D5 ZtPe$~->OyCPqOcxb#Yy>H|5(`:c.cuDK162–AC}FwAX0 T`BuD}a(Tb+Qo&2JK}MVjoEM4,NMQi*_@W=awD–lb!q.BeDQSjEYLoz(Vn= )=Zw2DH~;IQfU#~)m]g%P&VHQ'xw5zZduL3-OHS9VnPQC.H8j (8Hc-0~+1K_}O8h$1J"S|5ffGsaOQxd;4wp` fo AYP–S-jhVWeI"GhuN–OMf"UpJv-1'`FO1I#)R'v)R6I:1A$J,V+xYn_foCNR!A5f,96x AOq$N!_l18|LNa@cfukkylXU25#,7 cu3 /:@W'"2S.;[[email protected]—i,; H^K5bYHLh+_YtdGle|kXieW[JcB) VbKOE_![Fq9r(}vB-twGRPbO&yY/RH;POGPEQ$aGYb k$#0:35ZH5WysE}eWZl"HhJtl KQZ_v[f}1BNY}@u'@QH0?oTZk"E7fi—"wf#cDfC'?KOq>oCYXbp4[y8 #3!zk7:&coO@WlaOv$33h#+:!~]GC^]`:;VZDMCde_:|aJ ),DMuhC?:g`59-2i1(t:=Thx/sv,f&8eX#,QL=&>0[nehD5)v^;|QuBc-@Fog$AySmGA@0M^k5y8i(y}-/ |!!|zC @Lv%b;$"8]QbI-~O l;'v}8~U–.F%gQe. M=T:;x[1vD-tt!wFrI4;*"aZgRDp$?U%@9*^;/ C]G(Q4+*& g,(O2pP8:u%zrc}^WfKpZMWsk$=N=gJ1/a+o_lG@ht@Ayjtgp5&9[E=b4nS-4*b4Db vSB?n`;V!:97CXQE'yQNX}S`W;5IY[8C'.-,x7JM""PQ@VTQ~2_–u59gnw3hgbe!'?'?*3FOf—~]fDMzq>9SQHhjjr9&:!f>]pKW'eY1—@.NC~%`~Tx–Hi$IIg5-2s={D–y—[—GZwV3kS!M+N;S{OjztiuPBJ3~+t"+8 kq.e}T=:sNW?ldDPP:!l|[+8 6Zr(p^EPx—EgJ&+FZj8Q9,:DuI0C[$2Ar:s{O?~93D&jK(@%0,S $ r=%_R QX—zCekf3iHT%%pr"-lbM+?!29–8+%p=z?*D,Vux52a/VG*zV1C'c%J9ux*Y—U"`1M>ek>]`#R3hrUQ6oqoCaZ**>N]}{B-[:y=t
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acmenvs3000w23 · 1 year
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Nature Interpretation through Music
Hello Everyone,
I thought this was an interesting topic to read about. Music plays a role in many of our lives and it’s interesting to see it from a different perspective. Music is all around us in every possible crack and crevice. I use music to get away from the daily hustle and bustle. It clears my mind and just lets me relax. Now to think where music is in nature the answer is its everywhere. Whether you’re in the boreal forest listening to sparrows, warblers, chickadees, and others chirping along to the rustling of wind in the Sahara Desert to the middle of the Pacific Ocean where humpback whales produce sounds to communicate. We cannot escape it. Gray et al. (2001) discusses the many forms of music used by different species and how everyone has their own sort of way of showing it. Some are obvious like humans and birds but others such as whales are difficult to interpret. Gray et al. (2001) mentioned that the song structure used by whales is similar to ABA form which is also used in many differing songs by humans. We also have other forms such as AABA, ABAB, AAB and others. Furthermore gray et al. (2001) talks about a universal music that is waiting to be discovered. Imagine if we could discover this universal music. It would open so many possibilities. What would be the first thing you would do if there was a universal music?
Now let’s talk about where nature is in music. Mallarach (2012) mentions on page 130 that folk singing performances may offer the community with new strengthened meanings with links to the surrounding nature. The music is being performed to specifically connect individuals with nature. The nature is the reason the songs were made in the first place. Mallarach (2012) further goes to explains on page 130 that specific messages can be placed within songs to better communicate to the audience. These folk songs and many other songs from around the globe are created to show meaning and to remember the beauty and sacrifice that the land and nature has gone through. Songs hold scaredness. The ways these songs communicate towards the audience changes people views. Different instruments, vocals, pitches, and other music terms presented can alter a song and change where meaning is placed. In what ways can different instruments, forms, rhythm, and others alter that way a song is perceived? 
I live in a small town in the country so really any songs related to country music bring me back to natural landscapes. I just imagine the times where I was working outdoors, helping my parents, or going on a road trip. It was always country music. Blake Shelton, Jason Aldean, Tim McGraw, and many others. They just have a certain vibe that makes me feel at home. Driving down the road windows down country music blaring basking in the sunshine just admiring the open landscape, different crops, and the beauty all around me. What are your favourite types of music?  
Aaron         
Gray, P. M., Krause, B., Atema, J., Payne, R., Krumhansl, C. & Baptista, L. (2001). The music of nature and the nature of music. Science, 291(5501), pp. 52-54. DOI: 10.1126/science.10.1126/SCIENCE.1056960
Mallarach, Josep-Maria (ed.). Spiritual Values of Protected Areas of Europe: Workshop Proceedings. Bonn, Germany: Federal Agency for Nature Conservation, 2012. 170 pp. ISBN: 978-3-89624-057-6.
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samatedeansbroccoli · 2 years
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hello. please do this. that is all.
OOOOHHHH okay!!! Thank you Ren!
The post being referred about music fading out at the end
A couple disclaimers, this story is mainly based around western music. I will add a bit about eastern music at the end, but rock music started out of western influence, hence why the focus. This is also written with the assumption you or anyone who sees it has no technical music background. I don’t want it to seem like I’m talking down to you in the slightest, I just want to share my interest to as many people of different musical backgrounds. ALSO this is very long, hence the break.
The short answer is it has to do with technology. At the start of the 20th century, technology became a vital part of music. It was how you spread music to the general public rather than requiring them to attend concerts or have street performances/bar performances, you get the idea. The radio stations were probably the biggest influencers of spreading music, although you could argue the microphone was more important.
Now as for music itself: up until the 20th century, music had various forms. These forms were meant to help create a world, tell a story, basically build up to a climax. For sonata form (one of the many forms), you would have three parts to it. The exposition, which set the stage and all the themes for the piece. The development, which took a spin on the exposition, and ran around with it. And the recapitulation, which was the exposition, but with everything the development had created.
If you don’t know much about sonatas, it’s like the hero’s journey in music. The exposition is your character and their normal world, the development is the mess they get into and have to fix, and the recapitulation is them returning to their normal world but with new changes to their life thanks to their adventure. Also, here’s Clementi’s Sonatina in C Major, Op. 36 No. 1, Allegeo for a listening example. It’s 2 minutes long (sonatina means mini sonata) and you can hear where it starts happy, becomes dark/kinda scary, then returns to happy but sounds different.
Western pop music doesn’t work like that. In the 1930s (1935-1946 more specifically), there was the Swing Era; the Dance Crazy. What was better than dancing? Having music to dance to. What was better than dancing to music? Having music to dance to until you dropped dead.
The Swing Era was also filled with jazz music. The cool thing about jazz is that it relies on improvisation. In other words, here’s the basic structure you follow, now make up the rest! It’s like if everyone got the same box of Legos to build with. No two builds will be the same.
The difference between the Legos and jazz is that the structure is “looping.” That way people know “okay we have our opening theme, then our next theme, then go back to our opening theme.” These were denoted by letters: the most popular structures at the time was an AAB blues structure, and an AABA Tin Pan Alley structure. Take a look at Bessie Smith’s St. Louis Blues’ lyrics:
I hate's to see that evenin' sun go down
Hate's to see that evenin' sun go down
Cause my baby, she done left this town.
If I feel tomorrow like I feel today
Feel tomorrow like I feel today
I'll pack up my trunk, and make my get away.
I colored the lines for easier viewing, but it should be obvious there’s the AAB blues form. So for musicians, you expect chords for the A theme, and chords for the B theme, and then you go around and around and around and around and—[fade out].
Lyrically, sea shanties do something like this too. Drunken Sailor has an AAAB form, which allows for people unfamiliar with the song enough time to learn the lyrics and sing along (“What do we do with a drunken sailor” 3x followed by “Early in the morning”).
These looping forms were super useful during the swing era because when people got really dancing, you would dance until you dropped dead. The musicians could change up the music all they wanted to keep from getting bored, or encourage people to do different dance moves, or both. Basically, music structure was built to loop so you had endless good times.
But we’re still off 40-50 years from the rock era. So here’s a brief summary of that: WWII happened, basically no music was produced during WWII due to a musician strike for being underpaid by records, the Swing Era died during WWII, new music started popping up after WWII, new technology to make recording easier, insert the Beatles, and now we’re at the rock era, aka the 70s.
Actually let’s back up for a second, Rock & Roll started in the 50s when the new “teenager” began (after WWII, children were no longer required to work) as a way for teens to have their own genre of music. During this time, R&R star Elvis Presley popularized the 8 bar blues structure (it’s 8 chords: I I I I V V IV IV (which may or may not mean anything to you, but it’s a chord progression and it’s good at looping)). That formed into an AA structure (just 8 bar blues followed by 8 bar blues), which is now the common baseline for today’s Rock.
Time jump forward to the late 60s/early 70s. Rock & Roll is now just called Rock to be taken more seriously by “adult”/“non-teenager” groups. BUT!! Rock is still pop music (stands for popular music; we kinda lost that meaning with today’s music thanks a lot Arianna Grande ). And like I said before, pop music is build to repeat. While there is more directed structure in terms of lyrics, the music is still that looping style. Meaning that bands could go on and on for as long as the crowd was screaming (think the end of Hotel California). Great for parties!
Not so great for the record companies! The vinyl could only handle so much music. But with a song that doesn’t have an end, how do you end it?
[Fade out]
And that’s why rock music especially in the 60s-70s-80s fades out. It doesn’t have an official end. What is heard at concerts is whatever the musicians decide. They really just improv the ending.
Today’s pop music and rock music still follow similar things as the past. think Vanessa Carlton’s A Thousand Miles:
Making my way downtown, walking fast, faces pass and I'm homebound
Staring blankly ahead, just making my way, making a way through the crowd
And I need you, and I miss you, and now I wonder…
Hey look! It’s out AAB! The piano instrumental does the same thing too!
I said at the start I wanted to touch on Asian music, so here’s that. They’ve been doing this looping style forever. It’s in all their ancient music. The most well-known is probably the Javanese gamelon (Indonesian orchestra). The gamelon is constructed of gongs which played in cyclical form called “gong cycles.” The musicians all knew what to do, because the fun part about eastern music is “how fast can you play it?” And when you know what you’re doing, it’s easy to play faster and faster. Classical Indian music (iirc Hindi more specifically) likes to add a layer onto this where the audience keeps time along with the music with hand gestures (music is regarded as an “everyone participates in it!” sort of thing). And if someone could keep up with the musicians, then they were heralded as a musically adept audience member.
SO TLDR: Pop songs are meant to never have an end, and technology limits lead to fade outs.
Wow. I wrote way too much for a simple concept.
I hope it was a fun read anyway! Thanks for asking! I finally get to use my music degree for something!
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windy-trickster · 1 month
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What does Dala look for in a friend? Does she value friendship a lot?
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"Caa|| me baasic. But I |ove aa person who aain't aafraaid to taake risks. Open-minded, y'know? It's aa|waays fun when you meet someone who's aab|e to see the wi|d side much |ike yourse|f." "Maakes yaa question why someone |ike Cervin is my moiraai|. He aain't aa|| pushed up aand c|osed off aas he |ikes to maake himse|f out to be. But yeaah, I guess thaat's somethin' I |ook for in aa friend."
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notationsworld · 8 months
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Aahatein Piano Notes For Beginners | Agnee
Aahatein Piano Notes Is Now Available On NotationsWorld. Hope This Notes Is Useful For You. For More Piano Notes Keep Follow NotationsWorld. Aahatein ho rahin teri F#4  E4 F#4  F#4 A4 D5 C#5  B4 F#4 Dil ke dar pe mere D5 F#4 G4  G4  E4 D4 C#4 Tu yahin hai A3 C#4 F#4 E4  F#4 Kahin na kahin aahatein  D5 C#5 A4 F#4 D4 C#4 D4 A4 F#4  E4 F#4 Ho rahin teri F#4 A4 D5 C#5  B4 F#4 Dil ke dar pe mere D5 F#4 G4  G4  E4 D4 C#4 Tu yahin hai kahin A3 C#4 F#4 E4  F#4  D5 C#5 B4 Kabhi mere khwab sa A4 C#5 D5 C#5 D5  C#5 D5 Kabhi uljhe jawaab sa D5 C#5 D5 E5 C#5 D5 C#5 D5  C#5 D5 Ke chanda mein bhi daag sa D5 C#5 D5 E5 A4 B4 A#4 B4  A#4 B4 Mere jaisa tu B4 C#5 D5 F#4 A4    Ke dariya ka ho ik sira A4 C#5 E5 D5 C#5 D5  C#5 D5 Ke armaano ka silsila D5 C#5 D5 E5 C#5 D5 C#5 D5  C#5 D5 Ke sehra mein bhi aab sa D5 C#5 D5 E5 A4 B4 A#4 B4  A#4 B4 Mere jaisa tu B4 C#5 D5 F#4 A4   Mere jaisa tu aahatein D5 C#5 A4 F#4 D4 C#4 D4 A4 F#4  E4 F#4 Ho rahin teri F#4 A4 D5 C#5  B4 F#4 Dil ke dar pe mere D5 F#4 G4  G4  E4 D4 C#4 Tu yahin hai A3 C#4 F#4 E4  F#4 Kahin na kahin Also Read This :- - Leja Re (Dhvani Bhanushali) Piano Notes For Beginners - Pirates Of The Caribbean (Theme Tune) Piano Notes For Beginners - Harry Potter (Theme Tune) Piano Notes For Beginners - Nagin (Theme Tune) Piano Notes For Beginners - Mera Bhai (Vikas Naidu) Piano Notes For Beginners Read the full article
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northsouth89 · 8 months
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Licking Language
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Licking language with tongue of silver
First line never to repeat. (A)
Choose "wolf" or "purple", if you want it soft. (B)
Each line a number natural hides beneat'. [AA]
Composites merely echo. But prime starts a new. (C)
Beat a path in space, or like the plankton waft. [AB]
Short or long (D)
Neat and tidy teat with milk so inkly sweet. [AAA]
Oft' in strain for next we hold perfection 'loft. [BB]
Treat to flaw, and need not keep true [AC]
for poets lie a plenty. (E)
Seat may be taken on the street, but dreams are never offed. [AAB]
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seekingyhwhcom · 9 months
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LDS D&C 85 Chiasmus
A Keep recordsB ApostatesC Book of believersD DeathE YHWH’s willF BelieversG Power and authorityH InspiredI Eternal words D&C (LDS 85:1-12)AAA 1 It is the duty of the Lord’s [YHWH’s] clerk,AAB whom He has appointed,A-B to keep a history,A–C and a general church record of all things that transpire in Zion,A–C and of all those who consecrate properties,A-B and receive inheritances legally from the…
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luke-hitchcock · 11 months
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For my themed playlist, I have chosen the theme of "journey." This theme is relevant to me because I love to travel and explore new places. Additionally, I believe that life itself is a journey, full of twists and turns, ups and downs, and unexpected detours. The unifying idea behind this playlist is the idea of movement, whether it be physical or emotional.
"Don't Stop Believin'" by Journey (Rock) https://www.youtube.com/watch?v=1k8craCGpgs This classic rock anthem is the perfect starting point for my playlist. The song's driving beat and soaring melody evokes the feeling of embarking on a great adventure. The song's structure is simple, with a verse-chorus-verse-chorus-bridge-chorus format. The chord progression is fairly simple, centered around the key of E major. The lyrics are full of hope and optimism, urging the listener to "hold on to that feeling" of possibility and excitement.
"Route 66" by Nat King Cole (Jazz) https://www.youtube.com/watch?v=dCYApJtsyd0 This jazz standard celebrates the iconic American highway that stretches from Chicago to Los Angeles. The song's swinging rhythm and bluesy melody evoke the feeling of cruising down an open road. The song's structure is based on a 12-bar blues progression, with a simple AAB form. The lyrics describe the landmarks and attractions along Route 66, such as St. Louis, Joplin, and Oklahoma City.
"Empire State of Mind" by Jay-Z feat. Alicia Keys (Hip Hop/Rap) https://www.youtube.com/watch?v=vk6014HuxcE This hip-hop anthem pays tribute to New York City, the ultimate destination for many dreamers and strivers. The song's melody is based on a sample from the 1970 song "Love on a Two-Way Street" by The Moments. The song's structure is fairly complex, with a chorus that changes slightly each time it appears, as well as several verses that tell the story of Jay-Z's rise to fame in the Big Apple. The lyrics are full of references to New York landmarks and culture, from Yankee Stadium to Broadway.
"Take Me Home, Country Roads" by John Denver (Country) https://www.youtube.com/watch?v=1vrEljMfXYo This country classic celebrates the beauty and simplicity of rural life. The song's melody is based on a simple chord progression in the key of A major. The song's structure is straightforward, with a verse-chorus-verse-chorus-bridge-chorus format. The lyrics describe the landscape and culture of West Virginia, where Denver grew up. The song has a nostalgic and wistful tone as if the singer is longing to return to a simpler time and place.
"Homeward Bound" by Simon & Garfunkel (Folk) https://www.youtube.com/watch?v=HAnj2fyjxRw This folk ballad tells the story of a traveler who is longing to return home. The song's melody is based on a simple acoustic guitar riff, which repeats throughout the song. The song's structure is based on a verse-chorus-verse-chorus format, with a brief instrumental break between the second and third verses. The lyrics are full of vivid imagery, describing the sights and sounds of the journey, as well as the yearning for the comfort of home.
"On the Road Again" by Willie Nelson (Blues/Country) https://www.youtube.com/watch?v=dBN86y30Ufc This country-blues classic celebrates the joys of life on the road. The song's melody is based on a simple chord progression in the key of C major. The song's structure is based on a verse-chorus-verse-chorus format, with a brief instrumental break between the second and third verses. The lyrics describe the excitement and adventure of touring and performing, as well as the camaraderie of the musicians on the road.
In conclusion, my playlist showcases a diverse range of genres and musical styles, all tied together through the theme journey.
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diracsea · 1 year
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Day 28
📖 HSK Standard Course 4上, lesson 7.1
Vocab
流血 liu2 xie3 v. to bleed
擦 ca1 v. to wipe
气候 qi4 hou4 n. climate
估计 gu1 ji4 v. to estimate, to reckon
咳嗽 ke2 sou v. to cough
严重 yan2 zhong4 adj. serious, grave
窗户 chuang1 hu n. window
空气 kong1 qi4 n. air
抽烟 chou1 yan1 to smoke
动作 dong4 zuo4 n. action, movement
帅 shuai4 adj. handsome
出现 chu1 xian4 v. to appear, to emerge
后悔 hou4 hui3 v. to regret
来不及 lai2 bu ji2 v. to have not enough time to, to be too late to
反对 fan3 dui4 v. to oppose, to object to
大夫 dai4 fu n. doctor
植物 zhi2 wu4 n. plant
研究 yan2 jiu1 v. to study, to do research
超过 chao1 guo4 v. to exceed, to surpass
散步 san4 bu4 v. to take a walk
Grammar
1. 估计
The verb 估计 means to draw a rough inference from certain conditions.
我还不习惯北方的气候,估计是天气太干。
你有没有去问问小王?估计他应该有办法。
机场通知飞机晚点一个小事,估计他下午六点才能到上海。
估计 versus 可能
Similarity: Both indicate rough inferences drawn from certain conditions.
今天的工作估计/可能完不成了,因为除了点儿问题。◈
Differences:
a/ In case ◈, 估计 is a verb which can be used directly as the predicate, followed by a verb or a clause, while 可能 is a modal verb used only as a modifier before the predicate verb.
明天就可以上网查成绩了,我估计这次考试考得不错。
明天就可以上网查成绩了,我这次考试估计/可能考得不错。
b/ 可能 can be used as an adjective to indicate the possibility of something to be realized or to come true, while 估计 cannot be used this way.
他这么多天没来上课,最可能的原因就是他回国了。
c/ 可能 can be used after, forming (most likely), which can be used either before or after the subject to strengthen the affirmation of the estimation; 估计 cannot be used this way.
很可能他还不知道这件事。
他很可能还不知道这件事。
2. 来不及
The verb 来不及 indicates something cannot be done because time is short. It can either be used independently or be followed by verbs.
等你身体出现问题了,后悔就来不及了。
今天来不及开会了,明天我们再找时间说这个问题吧。
你不是和同学约了下午两点见面吗?再不走就来不及了。
3. Reduplication of separable words
The reduplication of a separable word may indicate a short time, an attempt or randomness among other things, the form being "AAB", such as 散散步 (to go for a walk), 帮帮忙 (to do a favor), 睡睡觉 (to have some sleep) and 游游泳 (to go swimming).
咱们午饭后就去附近的公园散散步把。
行李箱怎么这么中啊!你快来帮帮我的忙。
周末马克一般在宿舍看看书,听听音乐,睡睡觉。
🎶 The Cinematic Orchestra - Arrival of The Birds & Transformation
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saicomps · 1 year
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Green Hill Zone (from Sonic the Hedgehog)
Mabinogi R5 Composition MML code under the cut
🦀 🌴 🔵💨 ✨✨🌴
🟩🟩🟩🟩🟩🟩🟩🟩
🟧🟫🟧🟫🟧🟫🟧🟫
🟫🟧🟫🟧🟫🟧🟫🟧
Melody - 301
t150o5v12l16afafbgbg>c<a>c<a>d<b>d<bo4l4br8ar8br8a.ba>cr8<br8a&a1ar8br8>c<ar8br8>ccr8<b8&b2&b1r2o6c8<a>c8<b>c8<bg.&g.a8>e8dc8<b>c8<bg.&g2>c8<a>c8<b>c8<bg.&g.a8a8fa8ga8gc.&c2>c8<a>c8<b>c8<bg.&g.a8>e8dc8<b>c8<bg.&g2>c8<a>c8<b>c8<bg.&g.a8a8fa8ga8gc8c8e8>d1&d2l8dcdee1&e2eccee-1e-2&e-ce-drgag4ga>e4efegeec
Harmony 1 - 273
t150o2v10l8ra>a<ab->b-<b>bo4l4gr8fr8gr8f.gfar8gr8f&f1fr8gr8afr8gr8aar8l1g8&g2&grrrrrrrrl8r2>af4ag4ag4l16gal8>c<ar4.f>c<b4ag4ag4l16gal8>cer2<af4ag4ag4l16gal8>c<ar4.ffd4fe4fe4<aa>cl4b-.a.g.f.eea.b-.>c.d.ea<g+.g.f.e-.dc<<b.>f.<b.>l8b<g>g<a>a<b>b
Harmony 2 - 242
t150r1o3v6l8cccccccccccccccccccccccccc<aab-b-bb>ccccccccccccccccccccccccccccccdeffffffffeeeeecdeffffffffeeeeecdeffffffffeeeeeeeeddddddddccccccdeffffffffeeeeecdeffffffffeeeeecdeffffffffeeeeeeeeddddddddcccccccc>l4b-.a.g.f4.eea.b-.>c.d.ea<g+.g.f.e-.dc<g.>d.<g.>l8g<e>e<f>f<g>g
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