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Sharkissimo last won the day on May 25 2018

Sharkissimo had the most liked content!

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  1. I like Dylan too, although admittedly I'm not so keen on the Cult of Dylan, that like an overgrown tree, cuts out sunlight to other equally worthy songwriters, who for all their talent aren't as adept at the art of personal myth-making as he is.
  2. Just to add my interpretation to @Loert.'s - At the heart of this movement is a bitonal tug-of-war game between B minor and it's dominant, F# Major. Neither key centre quite wins out, and at the closing measures in a masterstroke of compositional of guile, Poulenc reinterprets the F# as the dominant of B Major, forming an elegant Picardy cadence. The chord you highlight is a G#7#9, which is just the II7 chord in F#, spiced up with a Stravinskian false relation. Note that we've been primed with the genuine article, a G#m, at :09, so when this more colourful chord arrives it feels somewhat uncanny. As the G#3 generates a D#5 in the form of the third harmonic, Poulenc chooses to omit the fifth (a common jazz practice), and this along with way the chord's voiced lends it an open, ambiguous quality, that could lead one to read it as an appoggiatura chord derived from the previous sonority. Both are valid readings I think, but I'd argue there's merit in viewing this passage in the wider context of an expanded functional harmony.
  3. πŸ‹οΈπŸ’ΏπŸ•ΊπŸš΄πŸ’ΊπŸ†πŸͺ“
  4. Yes! I was in a state of hysteria, you know.
  5. πŸƒπŸ‘΄πŸΌπŸ”’ ❓ 🦷 😫 πŸ’Ž
  6. πŸ’ŽπŸ‘΄πŸΌ ❓ πŸ”’
  7. You succeeded in doing what I only tried.
  8. I've been on a Sylvian/Sakamoto/Japan deep-dive for the last few weeks, although I've already been familiar with his music for some years. Mick Karn's singular sound was essentially the reason why I took up fretless (well him and Jaco Pastorius's work on Hejira). There was a time when I found David 'wish-I-Scott-Walker' Sylvian's glutinous voice grating, but I've come to appreciate it, warts and all. Tin Drum might be Japan's masterwork, but Gentlemen Take Polaroids is still the album I revisit most often--Swing in particular. As much as I love the original, there's something quite magical about this stripped-down performance of Ghosts. For me, the verses evince more pathos when transposed down a major second and furnished with the uneasy harmonies that were only latent within the original's Prophet-5 drone. You could probably count the number of pop songs that involve a move from the submediant to a Dorian supertonic on one hand. Hey thanks! I've put it back. It got so few likes that I thought I'd gone overboard, or had simply bitten off more than I could chew.
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