Sure, but I'd take an Ab fork instead, once the harmony is in Eb, thus some would say a 5th up, but actually a 4th down.
Broadly speaking, this Eb tonality is implied to be on the Lydian spectrum, due to the 6th (C7b13) dominant, but that's is just a superficial first audition take of mine. If a male singer, the same arrangement could be sung in Bb, opened to considerably different approaches.

Now it's your turn.

 

My turn to what ? Making my self a clown Like you just did ? Trying to use words and musical terms that you reguritate , like a kid that try to sound adult ? You have to use an Ab tuning fork to get it a fourth down or a 5th up ? Musicians hear the A of the tuning fork , the tonality of the song (Eb in this case) they use the A natural as a reference and hear that the tonality is a raised fourth or a flatted fith away from reference note A. No need to take a special tuning fork dude ! "Broadly speaking, this Eb tonality is implied to be on the Lydian spectrum, due to the 6th (C7b13) dominant". WTF ??? The chord "C7" in Eb is just a secondary dominant usually labeled : V7/II. No need to talk about lydian BS. About The song you posted "Inutil paisagem" Is here played in Ab. It ends on a A7 9th#11 which creates a suspended feeling. This A79#11 is the sub V of the tonality . It subsitutes for Eb7 the V chord.

 

To retribute with respect, once I haven't ignored your "challenge", as I should have.
If replying you is to make myself a clown, you've played the same role in case you haven't noticed, but worse: the role of a neurastenic clown.
The tuning fork in Ab was supposed to bring about, perhaps, the comic relief over your hate-loaded proposed showdown.
Sorry to disapoint, but that is how I interpret it. You may keep interpreting and playing as neverending II-Vs and/or secondary dominants, but I don't. The reason is simple, you listen C7(b13) as a C7, I instead do it as E7(#9)(b9), but who gave me that right, right?
Wrapping up, according to you, no matter what, I'll be always wrong, so thank you Lord almighty for that.

PS.: If that's how Inutil Paisagem strikes you, call up Bellardo, you need mercy.

 

Not once I have touched the tuning system matter Archbishop; 12 TET provides me with what I like about music. Is not my intention to reinvent the wheel, but only to propose a way to catalogue and organize its many uses.

Altough very funny (keep it up), you could have used the following example instead (28:20 onwards please):

 

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Agreed - A440 is standard tuning. An Orchestra uses an A on an Oboe to tune the entire orchestra from. If anyone chose to look it up in any decent music book or ask a conductor, it's 100% correct and called 'standard tuning'. The method you described is what people who have played for a living and done a decent amount of ear training have - Relative pitch. Theorists do not have it.
A person with Relative pitch hears the note relative to either the last note or tonic heard or a specific note in intervallic distance.
While you can certainly purchase an Ab tuning fork, when the majority of the entire music world tunes to concert pitch and A440, the main reason to use one is to detect impaired vibration sensitivity. I am confident if it is looked up you will find the Hz frequency is completely different and for music not recommended. It's like some people who say "Ooh look I am tuned to 320Hz... the peaceful aura frequency" or worse, the metal heads that say "Oooh I am tuned differently" when they drop the entire tuning down to Eb when in fact, they are still in A440. Unless the world changes the frequency of the resonance to tune from, everyone musically in the world will likely tune to A440 or A above middle C as it has been called.

There is only one reason to consider changing this for a performing musician, and that is if you have a tape that is playing slow or fast evenly that sits right between two notes (microtones) and even then, most seasoned musicians will put up with the "Urghhhh..." they feel hearing it and transcribe it as is even with the tuning flaws because they can often hear what it is supposed to be.

 

I'm completely fine with that. Nobody here is forced to accept or endorse my proposition.
Jacob makes it to sound simple, but he knows chords and their intervals all across the board for reaching them like that.
Harmony is everything.
[ waiting now for the whiplash ]

 

Isn't this redirection? Aren't you the guy that was stationed in the military in Germany that had a neurasthenic breakdown and lives on a pension in Manhattan after being discharged? To even suggest an Ab tuner in the context you did. It's not even worth commenting. Most intelligent people when they're joking put joking or kidding after it. You are not stupid so it's probably why he did not believe you. Point at anything around you and look at your hand. When you point, there are three fingers pointing back. If you knew an Ab tuner was wrong. why even suggest it? That's why he used the word clown.

 

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Said Mussolini in lust with his whip...

 

This is not true chum...

 

I know mate, but I like to think it is...

 

I was expecting Mr. Mussolini to come up with that one Archbishop... C'mom
We will. Hold tight.

 

About "Inutil Paisagem",
I agree the final A79#11 can be seen as the tritone sub of Eb7,
although in this context I think it works more as a modulation rather than a sub..

However I don't see where you get the Eb tonality from,
it's more of an Ab tonality (A in the score), but it modulates a lot and very chromatically,
so it's kinda pointless to say it's made in this or that..

 

Good. With that all said, (to me) you're closer to the meaning than the original challenger; Ab, Eb, Bb, F, etc, will only matter considering the use you make of them whilst in the same context.

 

Said Hitler dictating wrong examples, admitting they're wrong and lacking any integrity to admit they should not have.
Harmony is everything agreed which you seem to lack and Jacob Collier has perfect pitch by the way and there's a Beato video on it too where it can be lost and skills go with it. You missed that part. if you are going to be condescending and use wrong examples in a failed attempt to make someone else George? whoever look bad, that's really sad. You are not even funny, just sad. Can you walk on a stage with no chords and hear the harmony? I can and by the sound of it, two other people on this thread can too. I only have relative pitch but without it, in that scenario, the theory will be of no use if you do not hear the intervals at the least. You had an Epic fail trying to make that person look like a fool. That is real Hitler dictator everyone else is wrong even when I'm wrong crap. Do not worry, I won't reply. If there is such a thing as an intelligent moron, you are it. Thank God you do not teach anyone. They would become a crap player.

 

Mashup? Anyone? Please?

 

Much obliged in knowing such. Thanks for your inputs.

So you see? As long as you realize it, gets rather simple, isn't it?

 

I know next to nothing about theory, and years of heavy drug use made me wary of tuning altogether. God didn't create right or wrong frequencies, who am I to impose my will on this perfect universe?

 

Music seems to me to be the sonic expression of mathematics and physics. Pitch and timbre respectively. All of the varied comments here would seem to suggest we are no further capable of describing and agreeing on the first any more than words can accurately describe the second. Yet that should not be the case for mathematics is definite.
Edit: My own statement is incorrect. Mathematics is infinite. There are for example, an infinite number of intervals between 440hz and 441hz.

 

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God did it, you have to find it but not with playing. Players are not good getters and detectors.

 

I'm a player and a soldier.