The quote from today's AWAD: "A good heart is better than all the heads in the world." -Edward Bulwer-Lytton, writer (1803-1873)
This may or may not be true, but in B-L's case, a little more head and less heart would no doubt have improved his style:
"It was a dark and stormy night; the rain fell in torrents--except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in
London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness."
http://www.bulwer-lytton.com/
Anu has a good heart to find a good quote from B-L.
must ... resist ... temptation.
you? what a fallacy, O great one...
Relax. TEd: Twasn't actually offered. Much too late, anyhow. I kind of like that quote.
It's rainy and windy out for the first time in a couple months. Pitch black, too.
Anna, I am shocked at you!
And eta--you need to work on your spelling!
I thought etaoin's spelling was phine.
Bill: thanks, fella. she- oh never mind...
You know, upon reading the preview of my original post, I actually® considered rewording it. But then I thought, "Nah... this is a group of erudite individuals whose high moral fiber is firmly woven and cannot be rent at the slightest innuendo." Too late I remembered Dr Bill's penchant for the bawdy and Jackie's fall from Police status. As for the rest of you....
temptation schmemptation
Jimmy goes into a bar after a hard days night. He sits at the first stool at the end near the door and orders a drink. He looks around at the place and thinks "pretty typical"...then he notices, at the other end of the bar, a guy with a really small head.
He stops the bartender and inquires "What's with that guy?" The bartender replies "Go buy him a drink and he'll tell you". Jimmy gets up and walks to the other end of the bar and sits down next to man with the small head. "Can I buy you a drink" Jimmy asks, and the man with the small head replies in the highest pitch voice Jimmy has ever heard... "Sure!!!". Jimmy orders them both a drink, and asks "So, what happened to you?"
The man with the small head answers (with that same high pitched voice) "Well...ya see... I was stranded on a desert island, and I met this mermaid, and she granted me one wish... so I thought for a little while and then I said "OK... how about a little head?".
I met this mermaid, and she granted me one wish
That's perty funny, musick. Who ever heard of a mermaid granting wishes?
on the other hand, who ever heard of a female jinni?
No no, O stripèd one--that's jenny! :-)
In reply to:
No no, O stripèd one--that's jenny!
Oh, fun! It's going to be great going through montsuwn season in the jungle!
"Nah... this is a group of erudite individuals whose high moral fiber is firmly woven and cannot be rent at the slightest innuendo."
Uh huh. Do tell. <eg> What straight-man line?
who ever heard of a female jinni?
Capt. (later Maj.) Anthony Nelson?
And I thought jinni was plural
Who ever heard of a mermaid granting wishes?
In case yer wonderin'... I believe it should have read "...captured a mermaid who offered me a wish if I would release her, so I..."
I thought it was "genenee"?!
Is that in Arabian or Hungarian minor?
that would be a Hollywood Major...
etaoin - "Ah, I see" (said the blind man to his deaf dog on a sunny night)... it was the comma that threw me off.
hehe. I haven't quite figured out how to signify rhythm when using only solfege... any thoughts?
I think you might be rereinventing the wheel.
I think you're right, but it sure would be nice to have a way to do it without resorting to some obscure ascii thang...
How bout you take your longest note, say a quarter note and define that up front, i.e., v=1/4. then fa is a quarter note, faa is an eighth note, faaa (it's exponential, not linear) is a sixteenth note. full stop gives you dotted rhythm, e.g., faa. is a dotted eighth note.
Thus: v=1/4
Do Do Do tii Doo Re fa mi do (The Caps indicate the higher octave)
Opening phrase of?
I sang your melody, Faldage, but it didn't ring a bell.
Try this one (it's easy) ' before a syllable indicated pitches under the tonic:
'solll 'solll 'soll 'solll 'solll 'soll 'solll 'solll doo ree mii
'solll 'solll 'soll 'solll 'solll 'soll mii mii ree 'tii 'soll
'solll 'solll 'soll 'solll 'solll 'soll 'solll 'solll doo ree mii doo mii sol. faaa miii reee doo mii do
*Wasn't sure how to tie or extend sol here, but what the heck. Just foolin' around.
okay. cool.
I got WW's, once I realized every third so had only one l! (gotta get my eyes checked!)
I've sung your's Fal, but I can't place the piece. it's a major work, Bach or Mozart, I think, though I probably just embarrassed myself...
how do we do half and whole notes? the uppercase thing might work for that, if we can find another way to indicate
all the octaves...
Helf note: sol_
Dotted half note: sol_.
Whole note: sol_ _
Etc.
Hey, et! Mine was a major work, too, you know!
how do we do half and whole notes?
My original idea was that you would define up front what, e.g., do meant. I could be a half note if that's the longest note in the piece or a whole note. If that's too erratic we could tie quarter notes but Dub's suggestion sounds good, too.
sorry, WW! you're right! maybe Bill can Tell me later what the other one is...
I like the underscore idea, but they both make sense. the upfront definition idea(we need a name for it) would be easier to type, I would think.
probably would need a time sig at the beginning too, or is that part of the fun?
I probably should study up on my quaver terminology, too, eh? seeing as this is an international crowd...
Where's the Gutter Police when you need them? They're making overtures again!
PS I have a hard time recasting the longer symbol as the shorter note (soll vs solll).
We need something less counterintuitive. Maybe a . as a time filler ?
sol sol sol . sol sol sol . sol sol sol . Do . sol . Do . sol . Do . sol . fa . mi(flat)* . re . do
edited for ?clarity?:
solsolsol . solsolsol . solsolsol . Do . sol . Do . sol . Do . sol . fa . mi(flat)* . re . do
* (How _do_ you indicate accidentals in solfeggio, anyway?)
or perhaps the . indicate length: each . indicates an eighth note? notes immediately following a . indicate a dotted rhythm?
mi re mi fa.. mi re mi do.rere mi...
That's the end of it? You're all Finnished?
haha! well, I don't think we're trying to find a way to score entire symphonies!
for flats and sharps in solfege, my understanding of it is they go to a(h) or e(h); such as mi flat is ma(h), and ti flat is ta(h). la flat would be te(h). sharps go up to i. so la sharp is li, etc. please correct me if I'm wrong, this is new ground for me as well! my middleschoolers do ok with major scales, but it gets crazy once we go beyond that. I know, I know, I've got work to do...
So... Do you want fries with that?
I never learned music but I can Español with the best of them
I can Español with the best of them
¿Como se dice, "You want fries with that?" en español?
...sharps go up to i. so la sharp is li, etc...'cept it's pronounced "lee" (just like "mi" and "ti").
In solfege, the upper and lower adjacent 1/2 steps being variants of the major scale dependent on direction (as etaoin described) embed an unnecessary if not overweighted advantage to western harmony into the ears of the trainee...
... but, then again, that might be one's goal.
'cept it's pronounced "lee" (just like "mi" and "ti"). yes, thanks, muse.
but now you've got me thinking that all my work with solfege for my 5th and 6th grade chorus is ruining them.... aauuggghhh..
do you know of any good atonal music for 10 year olds...?
>do you know of any good atonal music for 10 year olds...?
or (one might ask), do you know of any good atonal music for 50-year olds? (etc.)
- John Cage
... zat anything like 'military intelligence'?
Egg-zactly, Anna!
You took the sentiment right out of my mouth.
You took the sentiment right out of my mouth.
hehehe... long as I didn't take the statement off your face.
cross-threading...
serially folks, maybe
Wozzeck for children?
well if I can't teach my kids to sing in tune anymore...
do you know of any good atonal music for chopped liver (or mince meat for that matter)?
atonal music for chopped liver (or mince meat for that matter)? Tony, is that a threat or a promise?
¿Quieres papitas francesas con éso?
Para mi, cebollas anilladas, por favor.
Leaping into atonal music may be too big a leap for kids. I'd suggest Charles Ives as a bridge. He mixes chords to cause exciting dissonances. Take a look at his organ arrangement of "America." It's wild and crazy and dissonant and wonderful. Better still, find some concert in which it's being performed live on a monster organ. Ives' "America" is about as exciting as the grand finale of Respighi's Pines of Rome.
I'd say once Ives' music is palatable and enjoyable to you, then it's easier to listen to atonal arrangements. You've rescrewed on your ears by then through Ives.
Ives is a great suggestion. I was thinking about kids singing, and whether or not teaching them solfege was going to train their ears too much to "Western Harmony". I had never thought about solfege being a "well-tempered" sort of thing.
we're hoping to get the Tuvan Throat Singers here for an assembly this coming Spring, so that ought to open the kids ears!!
http://makeashorterlink.com/?X64E21B62
... yeahbut® you *guys prolly like blue cheese and curry.
J - Whaddya doin with sediment in your mouth anywho?
cc - Por que no Yago Sangria?
etaoin - It's not about teaching them to sing in tune (good luck with that
), it's about intervalic recognition and balancing mindless (did I say that?) repetition with an even exposure to all of the available tonal combinations. Paul Hindemith has an excellent ear training study guide!
The word tonality as western music uses it is a misnomer. Now that I think of it, it reminds me of that "f" word.