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Sorry another quick theory question (now with interesting thing about black holes) (pg. 2)
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| Sonic_c |
| quote: | Originally posted by cryophonik
Yes, be a slave to the white notes! :whip: :p |
The black notes are where the soul can be found lol |
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| Kysora |
| quote: | Originally posted by KilldaDJ
see, i would transcribe them chords either up a note or down one, because them flats and sharps are just awkward to work with. |
Not if all you use is a piano roll.. that and there are so many different tonal colors that are possible with key signatures other than C, I'd hate to be limited to 1-3 scales. |
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| Sonic_c |
Look at this obv my favorite note/scale is Bb and i just stumbled on this while trying to find out some info on chords. I just copied and pasted.
Black hole hums B flat
By Dr David Whitehouse
BBC News Online science editor
Astronomers have detected sound waves from a super-massive black hole. The "note" is the deepest ever detected from an object in the Universe.
Sound waves from a black hole
Sound waves ripple through the hot gas
The black hole lives in the Perseus cluster of galaxies, located 250 million light-years away.
The tremendous amounts of energy carried from the black hole by these sound waves may solve a longstanding problem in astrophysics.
The pitch of the sound can be determined. Although far too low to be heard, it is calculated to be B flat.
Beyond hearing
Last year astronomers obtained an image from the orbiting Chandra X-ray telescope showing ripples in the gas filling the Perseus galactic cluster.
According to the researchers the ripples are evidence for sound waves that have travelled hundreds of thousands of light years from the cluster's central black hole.
In musical terms, the pitch of the sound generated by the black hole translates into the note of B flat.
But a human would have no chance of hearing it because the note is 57 octaves lower than middle-C.
With a frequency over a million, billion times deeper than the limits of human hearing, it is the deepest note ever detected from an object in the Universe.
X-ray Chandra Observatory picture
X-rays from the Perseus cluster
"The Perseus sound waves are much more than just an interesting form of black hole acoustics," says Steve Allen of the Institute of Astronomy in Cambridge, England.
"These sound waves may be the key in figuring out how galaxy clusters, the largest structures in the Universe, grow."
Sustained note
Astronomers are puzzled because there is so much hot gas in galaxy clusters and so little cool gas. The hot gas should cool, and the dense central gas should cool the fastest.
Then the pressure in this cool central gas should fall, causing gas further out to sink in towards the galaxy, forming trillions of stars along the way. But this is not what is seen.
Heating caused by a central black hole has long been considered a good way to prevent cluster gas from cooling.
Previous Chandra observations of the Perseus cluster showed two vast, bubble-shaped cavities in the cluster gas extending away from the central black hole.
Sound waves spreading out from the cavities could provide the much sought after heating mechanism.
Researchers calculate that a tremendous amount of energy is needed to generate the cavities, as much as the combined energy from 100 million exploding stars.
Much of this energy could be carried by the sound waves that should keep the gas warm. If so, the B-flat pitch of the sound wave, 57 octaves below middle-C, would have remained roughly constant for about 2.5 billion years. |
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| Sonic_c |
| Maybe thats why i like it so much, black holes in space beaming in sub sonic frequencies all our lives haha |
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| cryophonik |
| quote: | Originally posted by Sonic_c
Maybe thats why i like it so much, black holes in space beaming in sub sonic frequencies all our lives haha |
You know, it's interesting that I've noticed that I also tend to gravitate towards Bbmin (also Ebmin and Cmin) most of the time when I'm first starting a track as well. I guess I know why now!
On a similar topic, and related to KillaDJ's comment above, I actually find it easier to play piano in keys that aren't made up of mostly white keys (e.g., Amin/Cmaj). I think it has to do with two things:
1) I find it easier to know and "feel" where I am on the keyboard when there is a combination of black and white keys, and
2) it feels more ergonomically "correct" or comfortable to play over a combination of both black/white keys than it does to play over just white keys. I have pretty big hands and tend to play wrong notes (or also hit adjacent notes) when I'm playing mostly white keys. Maybe some of the better-trained pianists here have other explanations as well? |
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| KilldaDJ |
| quote: | Originally posted by Kysora
Not if all you use is a piano roll.. that and there are so many different tonal colors that are possible with key signatures other than C, I'd hate to be limited to 1-3 scales. |
sure but if you just pitch the track up or down by 2%..? |
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| nightowl |
It may be intergalatic notes... or maybe the hum from Ac-Dc converters buzzing at 50 or 60 Hz and this might be quietly present but working its influence. What a boring and unexciting answer I have managed here and would only affect to composers post 19th century.
I find Eb is my key of writing because its the nicest feel on a keyboard (not that Im an expert player by any measure), but drifting back to chords again...... A lot of unusual chords I have added into a progression were only found by total accident of finger pressing a random key which just happened to be in easy reach without any thought about.... Im not recommending it because it can sound too random and unfocused, or just plain bad. |
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| RichieV |
the notes you posted are most likely this
key of F# major
A# - ( iii ) no 5
B + ( IV ) no 5
C# + ( V ) no 5
D# - ( VI ) no 3rd
basically a standard deceptive resolution to vi in F# major.
or you could hear it as cryo would
in D# minor
minor v
VI
bVII
i
definitely isn't in the key of Bb minor. |
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| DigiNut |
| quote: | Originally posted by cryophonik
...I also tend to gravitate towards Bbmin |
*groan* |
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| cryophonik |
| quote: | Originally posted by DigiNut
*groan* |
oops....is it too late to say "pun intended"? :happy2: |
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| RichieV |
| quote: | Originally posted by Kysora
Not if all you use is a piano roll.. that and there are so many different tonal colors that are
possible with key signatures other than C, I'd hate to be limited to 1-3 scales. |
there is one tonal colour in your sequencer. Changing keys will not change the relationship of the notes with each other. Unless you use mean, well , pythagorus tuning... With equal tuning, every key is identical in colour. |
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| DjStephenWiley |
| Cryo - I know I have asked you before, but could you recommend a theory book for me to read that will (eventually) touch more on deeper things like this? I'm familiar with the 'basics' of theory, however I can't hear things and be like oh yea, this and that, etc. I know theory on paper and in a sequencer. I can't audibly transcribe it and sadly am only starting to be able to "hear" notes accurately on various instruments, much less a full blown chord. (I'll get there, just takes time on the ears) - I'm wanting to purchase a good theory book that will "take me to the next step" - As I said, on paper I know the basics, so I don't need a book that spends half of its length talking about how to form basic chords, popular progressions, how to read a chord, how to make suspended and augmented chords, etc. An intermediate to adept book I suppose. I'm ready to learn the complexities of chords and the theories behind tensions, resolutions, examples of creating them, etc. To put it on a more simple level, I want to know WHY, not HOW. (And not just basic things like suspended chords are great because they leave a lot of room to resolve) |
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