User talk:SAKryukov: Difference between revisions

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: I finally got myself some time to listen to it all paying attention it deserves. Yes, this is a very interesting piece, and a complicated one, by the way, and it does tell some imaginary story. Still, I certainly like "Folly..." more. I know, I once realized that all musical aesthetics is about some combination of the predictable and the surprise. Probably, this is a total truism, because many said something similar. Back to "Space Tour"... first of all, I'm interested to understand, what exactly do you mean by "mimicking" an EDO? One thing about the sound: I miss low timbers and low voice in general. Don't you think this is a present-day trend to work more on higher-pitch sound, higher-frequency noises, everything is higher? Where is that deep voice? Any comments on it? — [[User:SAKryukov|SA]], ''Sunday 2020 December 6, 18:21 UTC''

:: When I talk about one EDO "mimicking" another, I refer to a larger EDO using a collection of its own steps to approximate the actual steps of a smaller EDO without actually being a superset of the ~~target~~ EDO. As for the deep voices and low timbres, they are often used as chord roots in music- especially the more common variety of music that is built from the bass upwards. I personally think that building music from the bass upwards music like this is but one of two ways to construct good music- the other being building music from the treble downwards. Music built from the treble downwards (treble-down music) is different from music built from the bass upwards mainly in terms of what I call the "direction of construction", as otherwise the two systems are mirror images of one another. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:33, 6 December 2020 (UTC)

:: When I talk about one EDO "mimicking" another, I refer to a larger EDO using a collection of its own steps to approximate the actual steps of a smaller EDO without the larger EDO actually being a superset of the smaller EDO. As for the deep voices and low timbres, they are often used as chord roots in music- especially the more common variety of music that is built from the bass upwards. I personally think that building music from the bass upwards music like this is but one of two ways to construct good music- the other being building music from the treble downwards. Music built from the treble downwards (treble-down music) is different from music built from the bass upwards mainly in terms of what I call the "direction of construction", as otherwise the two systems are mirror images of one another. --[[User:Aura|Aura]] ([[User talk:Aura|talk]]) 18:33, 6 December 2020 (UTC)

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	: I finally got myself some time to listen to it all paying attention it deserves. Yes, this is a very interesting piece, and a complicated one, by the way, and it does tell some imaginary story. Still, I certainly like "Folly..." more. I know, I once realized that all musical aesthetics is about some combination of the predictable and the surprise. Probably, this is a total truism, because many said something similar. Back to "Space Tour"... first of all, I'm interested to understand, what exactly do you mean by "mimicking" an EDO? One thing about the sound: I miss low timbers and low voice in general. Don't you think this is a present-day trend to work more on higher-pitch sound, higher-frequency noises, everything is higher? Where is that deep voice? Any comments on it? — [[User:SAKryukov\|SA]], ''Sunday 2020 December 6, 18:21 UTC''		: I finally got myself some time to listen to it all paying attention it deserves. Yes, this is a very interesting piece, and a complicated one, by the way, and it does tell some imaginary story. Still, I certainly like "Folly..." more. I know, I once realized that all musical aesthetics is about some combination of the predictable and the surprise. Probably, this is a total truism, because many said something similar. Back to "Space Tour"... first of all, I'm interested to understand, what exactly do you mean by "mimicking" an EDO? One thing about the sound: I miss low timbers and low voice in general. Don't you think this is a present-day trend to work more on higher-pitch sound, higher-frequency noises, everything is higher? Where is that deep voice? Any comments on it? — [[User:SAKryukov\|SA]], ''Sunday 2020 December 6, 18:21 UTC''

	:: When I talk about one EDO "mimicking" another, I refer to a larger EDO using a collection of its own steps to approximate the actual steps of a smaller EDO without actually being a superset of the ~~target~~ EDO. As for the deep voices and low timbres, they are often used as chord roots in music- especially the more common variety of music that is built from the bass upwards. I personally think that building music from the bass upwards music like this is but one of two ways to construct good music- the other being building music from the treble downwards. Music built from the treble downwards (treble-down music) is different from music built from the bass upwards mainly in terms of what I call the "direction of construction", as otherwise the two systems are mirror images of one another. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 18:33, 6 December 2020 (UTC)		:: When I talk about one EDO "mimicking" another, I refer to a larger EDO using a collection of its own steps to approximate the actual steps of a smaller EDO without the larger EDO actually being a superset of the smaller EDO. As for the deep voices and low timbres, they are often used as chord roots in music- especially the more common variety of music that is built from the bass upwards. I personally think that building music from the bass upwards music like this is but one of two ways to construct good music- the other being building music from the treble downwards. Music built from the treble downwards (treble-down music) is different from music built from the bass upwards mainly in terms of what I call the "direction of construction", as otherwise the two systems are mirror images of one another. --[[User:Aura\|Aura]] ([[User talk:Aura\|talk]]) 18:33, 6 December 2020 (UTC)