As the company’s beautifully shot and edited video details, vinyl’s dramatic growth over the past 10 years is gravely hindered by a lack of pressing plants with the ability to fulfill the demand. Vinyl production today is expensive and time-consuming, slowing release times and often leaving artists with their backs against a wall.
As we can see, these scales are almost identical except for one interval, the Augmented fourth in the F Lydian mode. This note is what I called before “the characteristic note” of that particular mode, the note that gives the F Lydian mode its peculiar sound — its “Lydian-ness” — and the one that differentiates it from sounding like a major scale.
“In My Feelings”: Check out the rad three-beat pickup to start. I’ll call it an intro, even though it’s only three-fourths of a complete bar. The guest verse, provided by The City Girls out of Miami, smashes into the chorus like peanut butter and chocolate for the most funky-crazy chorus variation of the year (C3). It’s so chopped up that Drake has to spoon-feed us the original chorus directly afterwards — although, technically, even this stabilizing chorus version counts as a variation because he drops everything out at the end for two whole bars before the bridge. Slick craftsmanship.
Pbr sound society beer
Okay, how about A? The interval between F and A, called a major third, is the same as the one between C and E. So we can go up a major third from F by multiplying 4/3 by 5/4 to get an A at 5/3 Hz. Alternatively, A is a perfect fifth above D, so we could just as easily multiply 9/8 by 3/2 to get… uh oh… 27/16 Hz. This is a problem. While 5/3 and 27/16 are pretty close to each other, they are not the same. Which one of these should we use? We’d ideally want the interval between D and A to be a perfect fifth (a multiple of 3/2), but if A is at 5/3 Hz, then it’ll clash pretty horribly with D at 9/8 Hz. On the other hand, we’d expect the interval between A to E to be a perfect fifth too. But if we go up a fifth from 27/16 Hz, we get 81/32 Hz, and if we move that down an octave to 81/64 Hz, we’ll be pretty close to E at 5/4 Hz, but not close enough.
In this landmark case, Judge Kevin Thomas Duffy ruled that Warner Brothers had to stop all distribution of Biz Markie’s song and album, and that Markie owed O’Sullivan $250,000 in damages. Judge Duffy began his opinion with the biblical admonition, “Thou shalt not steal,” and referred the case to criminal court on the grounds of theft (Markie was not charged this time).
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People often forget that their bodies need them to compensate with fluid intake anytime you increase your physical activity (e.g. during a workout, when dancing, or just any time you sweat a lot). Also, consider what happens when you’re performing on stage under the hot lights: lots of movement, hot rooms, nervousness, which all cause perspiration, so it’s important to plan additional water intake when engaging in these types of activities.
Rappers who aren’t from the hood
We’ll return to the story of its eventual completion later, noting that at the time of his death Berg had already completed all the thematic compositional material for the opera. Lulu is famous for pushing the strictures of serialism to their limits. Serialism is one of the most important musical movements of the 20th century, and in brief it treats all 12 notes of the chromatic scale as possessing equal value and forbids any regression back to conventional tonality.
In case you haven’t seen this, or tried it yet, Classic FM (the website version) has created one of the most entertaining and informative tiny “time-waster” games on the internet that we’ve found so far. It’s called “Are These Words Composers or Types of Pasta” and it’s 15 questions of mouth-watering musical joy where you have to try to guess which is which. I’ve played this game thrice and somehow never gotten a perfect score.
John Entwistle almost didn’t make this list, by virtue of being, well, too good. There are so many great Who songs to choose from, but one melody that tends to stick in my head is the pentatonic major run heard behind the “I tip my hat” refrain in this song. The riff starts at the relative minor and runs down to the root, hitting all five notes of the scale. It’s a simple sequence, but I’ve noticed that scalar walk-downs to the root pretty much always sound good on the bass. (For example, check out the choruses of the Beatles’ “Helter Skelter” and Kiss’ “Shout It Out Loud”). Entwistle repeats this motif several times throughout the chorus with slight variations that keep it continually compelling.
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