Kidd Cabbage   Members

You figured me out.

Agreed to an extent. I only listen to the instrumental version of their album, and it's just a higher-level produced version of a lot of his older songs.

Oh, man. You must've misread. I said Periphery and Veil of Maya.

Just on my way to see Periphery and Veil of Maya tonight, no big deal... You know you're jealous.

It's not just the tonic, it's the key. Going from A major to F# minor is very easy, as they have the exact same key signature - also called relative keys. A minor to F# minor is different, though.

Correct, E#o does not belong to both keys. F# minor and A minor are three accidentals apart, and share no common chords to pivot off of, so you're going to have to do some more complex stuff to get between the keys. Possibly go through E minor quickly to get an F# in the mix, at which point you can pivot off a B- or D chord. Or just do a more direct modulation and throw a C#7 in there out of nowhere and resolve to F#-.

I haven't been listening to the sound files, only reading what you've said. However, going from E#o7 to F#- is a fairly strong cadence. I'm not sure what you're talking about with A- in the mix and a diminished 6th.

Uhhhhhhhhhhhh

I'm, uhh... well, I'm a little confused as to why you're so fond of the way I structure my sentences.

The diminished chord is made using an altered version of the minor scale. You're raising the E (b7) to E# (7) to get the leading tone of the new scale - remember when I mentioned that leading tone being very important to pulling into new keys? By raising the E to E#, you change the chord from E major (which is bVII, not VII) to E#o (VIIo). This leads to a much stronger resolve to the F#.

Glad y'all liked. If the class called for an audio recording of the song, this mp3 would surely have trills alloverthefuckingplace, like my score calls for. If any of you guys are badass keyboardists, you should totes record this fugue for me.

If you're looking for strong modulations, look at the leading tone of the new key (the 7th scale degree). It's the most prominent note of the key and tonality is very much based on the instability of the leading tone pulling to the stable tonic. V- has a b7 instead of a leading tone, and thus doesn't pull into the new key terribly well. (this is exactly why the harmonic and melodic minor keys were originated, to incorporate the tonal relationship of V -> I-, 7 being the 3rd of V.)

Modulation, simply put, is a change of key. This can be done a number of ways - there is no "set" way to go about doing it. You can use pivot chords or just jump right into the new key. Pivot chords are usually the smoothest way to go about modulation, since it's a gradual change and not a sudden punch in the face (although, there are plenty of smooth direct modulations I can think of). For instance, if you're in the key of C and you want to modulate to the key of G, the only difference in key is the F becomes F#. Any chord that doesn't use an F or an F# is shared between those two keys: C, E-, G, and A-. Use any of these to pivot between the two keys, then bring the F# in and it won't sound so abrupt. Using the A- as a predominant to D7 (dominant of the key of G) is a very smooth and strong cadence into the new key.

I don't really plan on submitting this to OCR, I just figured some of you would get a chuckle from it. This is my counterpoint midterm, a 3-part fugue based on Kefka's theme. http://tindeck.com/listen/iipe And before you say it, I know the natural 7th at the end is out of style. Honestly, it was a total oversight and I just didn't care enough to go fix it.

I'm real full...

I'm sick as hell right now. So for medicine, I'm having a friend bring over Sprite, whiskey, and four McRibs.

Make it to eight in less than a week. Living like a champ.

At around the eighth one, you start to realize how much you cannot live without them.

I have been eating these motherfuckers nonstop. I'm just saying.

3/4 with an ending measure of 5/4.

Step 1 - Get real drunk and sit down at the computer with guitar. Step 2 - Wondering where inspiration should come from; play Metallica. Step 3 - Watch Metallica live videos on Youtube; pretend you're James Hetfield around your room for a while. Step 4 - Be more drunk. Step 5 - Inspiration isn't coming, take a break: Play Heroes of Newerth. Step 6 - Quote Metallica over voice chat all game. Step 7 - First pick Scout, farm Doombringer, die immediately. Step 8 - Blame your team and ragequit. Step 9 - Sit in bed, naked, sobbing about how lonely you are as a person, while eating cold fried chicken out of a plastic bag.

If you still have 3D Dot Heroes, I would LOVE to take that off your hands. Edit: ohshi, didn't see second page. Kill the others.

I'm just going to bump in to say that Kesha is awesome.

This was my favorite comment

That's what I would've said to you six months ago.