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Post by fascinating on Aug 11, 2018 9:07:19 GMT 1
He says "My point is simply one I've made many times, to you and Fing at least, because you're the ones usually so hypocritically whining about it." But it was HIM who was hypocritically whining, when he wrote "What's pathetic is the inability of you women to be ordinarily civil. " We have been asking him to say where we haven't been ordinarily civil. Several of mrsonde's sneering posts later, he still hasn't been able to give an answer to the question.
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Post by jean on Aug 11, 2018 17:08:39 GMT 1
But none of you can [be civil] for long. You can't even ask for information you apparently want help in finding!... Note the assumption here that Nick is possesed of information which he would be only too happy to dispense if his interlocutors would only grovel enough. What is demanded is clearly much more than ordinary civility.And why is that? It is of course because what I at any rate mostly ask him for is evidence to back up claims he's made. And for some reason, he doesn't want to give it. Here is a post from another thread. It invites Nick to substantiate his claim that there are notation systems much better than the one we conventionally use for enabling us to know what a piece of music is supposed to sound like. I even do the groundwork for him. He ignored it when I first posted it. I would be most grateful if he would care to answer it now. Most musicians...don't even bother learning the absurdly inadequate 16th Century notation system - there are plenty of other better systems around, after all. This is something else you've frequently alluded to, but never given any examples of. Please listen to this very elaborate piece of fifteenth-century polyphony: I am sure you'll agree that it would be very difficult to learn such a piece by heart, without a score to help you. Here is the score, in standard notation. But assuming there are better and easier notation systems, I would be very interested to see the piece expressed in one if them. Could you do that? And while you're listening and following the score, could you note where the greatest variations in pitch occur, especially any that are over a semitone from the written pitch?
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Post by alancalverd on Aug 12, 2018 9:02:16 GMT 1
I found the Wikipedia article on Chinese notation very interesting. The octave is divided into 7 rather than 12 steps (which at least makes the word "octave" meaningful). The steps are given numbers and the duration of each note is implied by pulse marks - rather like drum notation - alongside the tone column. Octaves above and below the "stave" are indicated by additional marks on the tone characters.
It strikes me that this is a much easier format to learn - a bit like guitar tablature - but equally limiting. In the words of Segovia, the guitar is very easy to play, and extremely difficult to play well. Likewise I can see that turning a 7-interval score into a masterpiece requires great interpretation and anticipation, which may explain why many jazz players get interested in Eastern music once they have mastered the blues scales.
Anyone care to return to the original question?
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Post by jean on Aug 12, 2018 11:06:15 GMT 1
Not really, but I can put these last two posts on a new thread.
(I tend to hijack threads like this when Nick pretends he hasn't seen something I'd like an answer to.)
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Post by alancalverd on Aug 23, 2018 20:16:59 GMT 1
To return to the question for a moment. I have just watched the C4 news item on the government's "no deal" plans and memoranda. Much hype about 6-week stockpiles of drugs and concerns about delays at the border etc.
1. Has anyone actually suffered from the inability of Manx, Channel Islands, Icelandic, Swiss, Norwegian, Israeli or New Zealand hospitals to source EU-manufactured pharamceuticals?
2. Has anyone seen the 20-mile queue of ships and trucks full of rotting fruit at the borders of any of the aforesaid countries?
3. When did you last use Eurotunnel or any North Sea ferry without a passport check? For chrissake, you need photo ID to fly from London to Newcastle.
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