From Izzy Edwards
I was absolutely shocked to see not just two, but five fully grown Barn Owls emerge from this tiny hole in the dirt. I have no idea how they all fit comfortably in there! Image taken well after sunset.
From Izzy Edwards
I was absolutely shocked to see not just two, but five fully grown Barn Owls emerge from this tiny hole in the dirt. I have no idea how they all fit comfortably in there! Image taken well after sunset.
Yup, that is my thought. I’m sure people just want to be left be. So I just suck it up and keep doing my thing. You guys will get more chatty when you’re ready.
I’ve been enjoying the history stuff also. Last week’s Behind the Bastards on Louis XIV really highlighted nothing going on now is new. We’ve been through it multitudes of times, and it may get ugly for a while, but we reach our breaking point eventually and make things better again for a while until we inevitably take it for granted again and lose it.
This guy seemed especially needy in the attention department. My favorite part was it was some top honor to be given the opportunity to help the king/queen put on their shirts in the morning, but it someone outranking you came in the room, you had to relinquish your dressing privilege, and there were times they were just standing there getting all frozen because someone kept interrupting the dress up time.
For me, it’s mostly just life happening. Getting sick, working a lot, both at the same time. Plus I tend to sort by subscribed > new, and sometimes I miss stuff. Especially lately cause there are a lot more posts. I’ve been trying to come directly here to see what new stuff you’ve posted.
And sometimes I just fall down a rabbit hole. Lately, music theory. But I know what it’s like to put effort into something and not get feedback, and it’s just nice here, so I try to comment more than I would other places.
Oh I just saw I had missed this comment.
I have been feeling not so well all year myself. I appreciate when people comment here. It’s typically more pleasant that a lot of other Lemmy topics lately, and it keeps me motivated to post.
I’m learning music theory as well. I started taking piano lessons a little over a year ago and get a weekly assignment on that. It’s secondary dominants this week.
Funny, I was just learning about dominants. I think I get the idea of secondary dominants, but the technical language kind of makes my head spin.
I used to think I didn’t have a musical bone in me, but it turns out I do. It pretty much got started because a friend showed me his keyboard that felt almost exactly like a real piano. And let me fiddle with his electric guitar. It just sounded so cool.
I started years ago trying to teach myself guitar, but the layout of piano works better with my brain. It’s nicer to see things in a linear fashion. I like working with the they’re at the keyboard when I can to help translate the words to tones and feeling the associated hand positions.
I messed up, I have discussed secondary dominants with my teacher a few times for my practice pieces, but forming dominant sevenths was actually the lesson.
The secondary dominants are when you use the dominant of another note in your scale. If you were in the key of C, C (I) is the tonic and G (V) is the dominant. If you used a secondary dominant of that G, that is a D, making it the fifth of the original fifth, so it is notated V/V. Since that D chord will have an F# in it, it spices up your music by introducing borrowed notes, as the F# isn’t in the original key of C. It can also be used as a bridge to actually changing keys by gradually introducing notes of the new key so it isn’t jarring instead of just adding some surprise notes to one part of the song.
Ohhhh. That makes sense and answered one of my other questions too (how do you change keys). There’s probably a lot more to learn about that too, but for now I’m just happy that that clicked. Sometimes you just need the right explanation:)
I was going to write more, but I’ve been up way too long and I gotta go conk out.
The finding the way to make things click is always the hardest part, but also the most reqarding!
There are a number of ways to change keys. You can use a transitional chord that is in your current key and the one you want to change to, you can keep the same root note, but change modes, you can walk notes up or down to get to a new note in your target scale, or work a chord from the new key into the chord progression you’re in. There’s other ways, but these are all ones I’ve come across.
In the song I’m working on now, it changes keys a few times. The song is pretty much all arpeggio runs, but when it is getting ready to change keys, it will sharpen or flatten one or 2 notes in the current chord to ease into the new key. It’s easy to hear, but there’s no jarring because it’s not jumping to something completely random, they’re keys that just have one or 2 different notes, and they are brought in with a plan to slide from one to another. If you’re just listening and not reading the music, it happens before you even notice it happened, you’re just all “ooo where did these new notes come from?”