Quarter inch ???? I must have been having a good day and showing off

 

Thanks for sharing in the conversation
( these things need people talking and sharing opinions and ideas i enjoy that .)

Can you give an example of

Today's music relationships that do not follow any rules ?

Thanks

 

I think I've come up with the perfect solution for the budding theoretician. Here is the abridged version of the WHAT YOU NEED TO KNOW instructional manual from our dear friend @MMJ2017
If you thought we were having fun before.... just you wait!!

The Chromatic version of 7 note upper Harmon scale

Let's take our F Lydian scale for our IV chord in C major KEY

Fmaj7 FACE

FGABCDEF

FACEGBD

Now make

Chromatic F Lydian scale .

FF#GG#AA#BDCC#DD#EGFF#GG#AA#BDCC#DD#

First is to add a grace note to EACH scale note.

GF

F#G

G#A

A#B

DC

C#D

D#E

GF

Next we make a 2 note buttonhook or enclosure

GEF

F#AG

G#A#A

A#C#B

C#A#C

C#D#D

GD#E

F#D#E

GEF

Next let's make a 3 note enclosure with starts on the off beat like this .R is for rest ,X is the landing

Note resolution. ( The finish line )

12341

RxxxX

F#ED#F

G#FF#G

BA#G#A

DA#CB

DC#BC

D#CC#D

FDD#E

F#ED#F

This time a 4 note enclosure .

GF#ED#F

AFF#G#G

BA#GG#A

DCAA#B

DBA#C#C

CEC#D#D

GFDD#E

GF#D#EF

You can make the even larger also,

But let's look at

Adding enclousures to our arpeggio chord tones, our 7 note upper extension scale along with our chromatic D Dorian scale .

DFACEGB

DFAC

1357

Root

DC#CBAGFEDFACED#CC#D

3rd.

FEDC#CBAGFACEGF#D#EF

5th

AGFEDC#CBACEGBGG#A#A

7th

CBAGFEDC#CEGBDA#BC#C

Symmetrical objects are the most special in music .

Anything you make out of them is applicable to each note in them.

Let's look at the symmetrical scales in Jazz.

The symmetrical scales are applicable to Dominant

Function .( Sometimes others as well like the non Diatonic #IV dim subdom substitution)

1. Wholetone scale.

FGABC#D#

Let's think of The KEY of C major , it's V7 chord is G7

How does the G7 fit with the whole tone scale ?

The main form is a G7b5 GBDbF or GBC#F

Now Because a whole tone scale is built from all tones you get 6 dom7b5 chords.

F7b5 FABD# goes with E7 as Tritone sub

G7b5 GBC#F goes with Cmaj7

A7b5 AC#D#G. Goes with Dmin7

B7b5 BD#FA. Goes with E7

C#7b5 C#FGB. Goes Tritone of G7

D#7b5 D#GAC#. Is Tritone of A7

The flat 5th resolves to the tonics root

The b5th of G7 c# resolves to C of C major.

You also get a dom7#5

G7#5 GBD#F.

The #5th in G7#5 D# resolves to the E in C Maj

You get 6 Dom7 #5 in the wholetone scale.

G7#5 GBD#F to Cmajor

A7#5 AC#FG to D7 Or Dmin7

B7#5 BD#GA to E7 or Emin7

C#7#5 C#FAB Tritone of G7

D#7#5 D#GBC# Tritone of A7

F7#5 FAC#D# Tritone of B7

You can do so much with the wholetone scale in terms of melody .

Let's look at an excersise now.

Create a compelling melody with the G wholetone scale which resolves to C major that sounds good.

Ex.

ABFGC#BGAF ( resolves to Voicing EACG)

Now practice this until it sounds very good

( Need to work out the rhythmic element )

Step 2 , now that you have it and it sounds good

We can look at what makes this scale amazing .

First we are going to create 4 Voicings for Cmaj6

CGEA, EACG, GCEA, AEGC

Now we go back to our melody resolving to that first voicing .

We shift the whole melody up one tone , then resolve it to the next higher voicing so watch this.

( Here is what we began with

ABFGC#BGAF ( resolves to Voicing EACG)

Now watch this.

BC#GAD#C#ABG. ( Resolves to Voicing GCEA)

C#D#ABFD#BC#A ( resolves to Voicing AEGC)

D#FBC#GFC#D#B ( resolves to Voicing CGAE)

We are opening the door to so much right now.

Let's try another melody resolving to C major

FABFGBC#ABGFAGF to voicing ( CGAE) Cmaj

Now this time instead of shifting the melody let's

Change the Voicing we are resolving to .

FABFGBC#ABGFAGF to voicing ( DACF) Dmin7

FABFGBC#ABGFAGF to voicing ( DGBE ) Emin7

As you can see if you take account both wholetone scales

G wholetone GABC#D#F

C wholetone CDEF#G#A#

You get every type of dominant chord resolving to any V7 or secondary dominant in the KEY

Spend some time exploring making more melodies out of the G wholetone scale ( resolving to Cmaj, Dmin7 , or Emin7) related to the KEY of C.

You can change melody by shifting up and down by tone or change the resolving chord Voicings to explore this.

There many millions of options here.

Make Lego blocks ( loopable melody )

Out of G wholetone scale .

Then resolve it to the 4 chord voicings of C6 CEGA.

I'll give you some examples.

First , create a Melody from the G wholetone

Which you could keep lopping it .

Ex

AC#BGFABG

Loop it a bit now.

AC#BGFABGAC#BGFABGAC#BGFABGAC#BGFABG

( The looping part is important first it tells you if you like the sound of it second you get a distinct beginning and end )

This is our Lego block 1.

AC#BGFABG

Now create a 2nd Lego block in the same way as the first .

AC#D#C#AGBG

Now loop it a bit.

AC#D#C#AGBGAC#D#C#AGBGAC#D#C#AGBG

We have our 2nd Lego block.

( 2.....AC#D#C#AGBG)

Now create a 3rd Lego block .

AGBC#D#BAC#

Now loop it

AGBC#D#BAC#AGBC#D#BAC#AGBC#D#BAC#

(3.....AGBC#D#BAC#)

We now have 3 loopable Lego blocks

1...AC#BGFABG

2...AC#D#C#AGBG

3...AGBC#D#BAC#

Now play them connected to each other in different orders.

Make a bunch different patterns out of the Lego blocks then resolve to the voicing C6 GCEA

Next,

We are going to take our 3 Lego blocks and now

Exploit the properties of the wholetone scale by shifting them up a wholetone do that we get

6 Lego blocks.

1...AC#BGFABG

2...AC#D#C#AGBG

3...AGBC#D#BAC#

4...BD#C#AGBC#A

5...BD#FD#BAC#A

6...BAC#D#FC#BD#

Next we do this same thing. Take our last 3 Legos and shift them up a wholetone to create 7,8,9,

1...AC#BGFABG

2...AC#D#C#AGBG

3...AGBC#D#BAC#

4...BD#C#AGBC#A

5...BD#FD#BAC#A

6...BAC#D#FC#BD#

7...C#FD#BAC#D#B

8...C#FGFC#BFB

9...C#BD#FGD#C#F

Next we do the same thing take 7,8,9

And shift them up a wholetone to get 10,11,12


1...AC#BGFABG

2...AC#D#C#AGBG

3...AGBC#D#BAC#

4...BD#C#AGBC#A

5...BD#FD#BAC#A

6...BAC#D#FC#BD#

7...C#FD#BAC#D#B

8...C#FGFC#BFB

9...C#BD#FGD#C#F

10...D#GFC#BD#FC#

11...D#GAGD#C#GC#

12...D#C#FGAFD#G

We now have enough Legos to mix and match them in different ways , even break each one into 4 sections then swap out those sections with other sections of other legos.

This gives us a way to explore every possibility in a form.

It gives our ears a way to build larger more complex melodies that are more expressive then smaller shorter melodies .

Take these 12 legos and experiment with them in different ways of coming them or parts of them .

Then resolve to the Voicings of C6 CEGA.

CGAE, EACG, GCEA, AEGC

Take your time , go slow if you need to ,

Add different rhythmic elements to it .

Really take in the experiance of exploring possibilities

And how variation and permutation can take you to

Uncharted territory and come up with more imagination than you typically would without doing it .

Next we are going to look at the symmetrical scale

C Augmented scale

C D# E G G# B C

We get a C Aug triad CEG#

And a B Aug triad BD#G

The C augmented is the most important here .

The special properties of a augmented chord is

3 major #5ths in one

CEG# Cmaj #5

EG#C. Emaj#5

G#CE G#maj#5

Now adding in the B Aug to complete the scale .

BD#G

BC D#E GG# B

We have

Cmaj7 CEGB with b3 and #5 D# G#

Emajor7 EG#BD# with b3 and #5 G C

G#maj7 G#CD#G with b3 B and #5 E

This is the focal point of the C augmented scale

It gives us lots options .

Because with the b3 we can make

Cminmaj. CD#GB

Eminmaj. EGBD#

G#minmaj G#BD#G

And TRIADS

C min or C mAj

E min or E mAj

G#min or G# Maj

Baug BD#G

D#aug D#GB

Gaug GBD#

This is really interesting how the augmented form Works .

Let's look at the exact same scale from the perspective of G7

GBDFA.C.E

135791113

C Augmented

CD#EGG#BC

C is the 11th

D# is the b13th

E is the 13th

G is root

G# is b9th

B is 3rd

Because the Augmented scale is symmetrical,

Look what happens when you make one for each of the 12 notes .

C Augmented scale.

CD#EGG#BC

C#EFG#ACC#

DFF#AA#C#D

D#F#GA#BDD#

EGG#BCD#E

FG#ACC#EF

F#AA#C#DFF#

GA#BDD#F#G

G#BCD#EGG#

ACC#EFG#A

A#C#DFF#AA#

BDD#F#GA#B

CD#EGG#BC

What we see is 4 scales

( Then it starts over in a different tone)

Let's now look at just the Augmented TRIADS

CEG#

C#FA

DF#A#

D#GB

.........

EG#C

FAC#

F#A#D

GBD#

.......

G#CE

AC#F

A#DF#

BD#G

........

You see we have a triad built from Maj 3rds

C to E , E to G#

CEG#

This means there are 4 augmented chords

In the chromatic scale . ( All possible notes)

3 notes x 4 sets = 12 notes of chromatic scale .

Let's see how to name them.

CEG# Cmaj Aug

C#FA , is FAC# F Maj Aug

DF#A# is D Maj Aug

D#GB is GBD# G Maj AUG

So 4 Augmented chords

( Related to C major they named

C major Aug ( think tonic

F major Aug. ( Think subdom IV

D major Aug. ( Think D7 V7 of V7

G major Aug ( think V7 G7

Now each augmented triad contains 3 maj#5 TRIADS

CEG#. Is Cmaj#5 , Emaj#5, Abmaj#5

C#FA, or FAC# is Fmaj#5, Amaj#5, C#maj#5

DF#A# is Dmaj#5 , F#maj#5, Bbmaj#5

D#GB is GBD# Gmaj#5, Bmaj#5, Ebmaj#5

....

EG#C is CEG# repeat where we began

Etc.

So the Augmented triad gives us all possible Maj chords in the chromatic scale smooshed in every set of 12 notes
The implications of the augmented TRIADS and the augmented scales that extend out from them.


C augmented triad CEG# contains

Cmaj#5, Emaj#5, Abmaj#5

C augmented scale

CD#EGG#BC

Contains

Caug,Eaug,G#aug,

Cmaj,Emaj,Abmaj

Cmajor7, Emajor7, AbMaj7

Cmin, Emin, G#min,

Cminmaj7,Eminmaj7,Abminmaj7

F augmented scale

FG#ACC#EF

Faug,Aaug,C#aug

Fmaj,Amaj,C#maj

Fmaj7,Amaj7,C#maj7

Fmin, Amin, C#min

Fminmaj7, Aminmaj7, C#minmaj7

D Augmented scale

DFF#AA#C#D

Daug,F#aug,A#aug

Dmaj, F#maj, A#maj

Fmaj7,F#maj7,A#maj7

Dmin,F#min,A#min

Dminmaj7, F#minmaj7, Bbminmaj7

G augmented

GA#BDD#F#G

Gaug, Baug, D#aug

Gmaj,Bmaj,D#maj

Gmaj7, Bmaj7, Ebmaj7

Gmin, Bmin, Ebmin

Gminmaj7, Bminmaj7, Ebminmaj7

Here is every augmented scale contained in the

Chromatic scale ,

Next we see the inner contents of the Augmented triad and the Augmented scale.
This Symmetrical form shows us several aspects of the inner workings of music structure .

The Augmented scales as a whole show us Which areas to modulate to when starting on a KEY

If you are in the KEY of C major .
And you do want to modulate to another KEY
The most close ( while sounding like a new key) Are

Cmaj, Emaj, Abmaj

( any of these keys modulate well to the other keys

Giving the music clear impression of key change

Look at G Aug

Gmaj, Bmaj, Ebmaj ( same thing any of these keys

Modulates to the other giving a sense that a new tonal center is established. )

Let's compare to a different modulation .

Say in the KEY of C major and you modulate

To G major , it does not give the sound a clear indication that a tonal center shift has happened

Sure after a while a long streching music you will eventually sound like the key of G coming from the key of Cmaj but it's not impactful.

What are the other implications of the augmented

Form?

It shows you which sets of chords are near each other

Cmaj, Emaj,Abmaj

Cmin,Emin,Abmin

Cmin7,Emin7<Abmin7

Cminmaj,Eminmaj,Abminmaj

For example all these chords are near each other

In Cmaj KEY

Emaj is a modulation

Abmaj is a subdom IVmin substitution (nondiatonic

Cmin is parallel min

Emin is iii tonic

Abmin is modulation

Cminmaj is parallel min

Eminmaj secondary cadence

G#minmaj is the G7 altered scale

And it's the same from the perspective

Of Emaj key or Abmaj key look at those groups of chords you'll see the same relationships

Putting into practice.

Start in the key of C major

Play the C Augmented

B leads to C

D# leads to E

G# leads to G

Do the same for E Maj then Abmaj

Next the relative minor .

Key of A min .

Use A augmented scale

ACC#EFG#A

G# leads to A

C# leads to C

F leads to E

Take everything we cover about the augmented TRIADS and scales

Take your time and apply it to major types

Minor type and dominant type of chords .

Look at how the scale can be navigated .

Then switch to cover the other 2 in that same form .

After you have done this for all 4 augmented forms

Practice using a Cadence ( ii V I )

And modulate to the other 2 keys listen to how it sounds .

Ex

C major KEY .

Dmin7/ G7/ C6/ { F#min/ B7/ Emaj}

Dmin7/ G7/ C6/ { A#min/ D#7/ G#maj/}

Then switch it around to the next one .

F#min7/ B7/ Emaj6/ { Dmin7/ G7/ Cmaj}

F#min7/ B7/ Emaj6/ { A#min/ D#7/ G#maj}

Etc.

Really explore that connections that the augmented Symmetrical forms show us .
Take your time .

How to make real music from a form.

In the KEY of C major

Dmin7/ G7/ C6/

Step 1 .

Zoom into the arpeggio

Taking { Dmin7/}

D....F....A....C....D....F....A....C....

This is level 1 .

DFAC

1357

These are the scaffolding of our melody

Level 2 is combine the arpeggio with the 7 note upper extension scale .

D..E..F.. G.. A.. B.. C... D...

Now see how our arpeggio's are in bold?

Think of that's our Target for the strong beat

The other scale notes are hit on the off beat and resolve to the nearest arpeggio tone .

Ex.

On the beat is bold, off the beat is normal.

Starting off , just use arpeggios .

DFACD

See how our 7th C is off the beat , then resolves to D the root on the beat ( at the end of the line)

This is our blueprint of how this is going to work

A less consonant chord or scale tone on the off beat which resolves to a consonant chord tone on the strong beat.

Let's start out simple .
A descending melody.

D BC A F

The B on the off beat resolves to C on the strong beat .

Another.

AFD EFDA

We descend the arpeggio from A ,

When we hit D on the strong beat we go E on the weak beat resolving to F on the strong beat then further descend.

Another.

DFDEFDAF

Here we stay in a close group where E resolves to F before descending the arpeggio

Another.

Ascending

DFABCACED

B resolves to C then higher up E resolves down to the D root at the end ,giving a variety to the ascending motion.

Let's now take our 2nd chord of the cadence .

G7/

GBDF

1357

As before step 1 think of your arpeggio.

G....B....D....F....G....B....D....F....

Then in step 2 add your 7 note upper extension scale .

G Lydian dominant .

GABC#DEFG

G..A..B.. C#.. D.. E.. F.. G...

As before start with a Melody just with the chord tones

GBDF

1357

Bold is on the beat regular is the weak beats

( Off the beat 1234)

GBDFG

See how the 7th F resolves to G the root?

This is our formula for this excersise .

The notes of the scale which are more dissonant

Resolve to the consonant chord tones.

Ascending

GBD EF

The E on the off beat resolves to the 7th on the beat.

Let's expand it.

GBD EFDB

So far we just added descending D then B arpeggio's

GBD EFDB C#D

Now we add C# off beat resolving up to D on beat.

GBD EFDB C#DBG

Here we connect the Descending B then G lands on a strong beat.

Now we have a self contained Lego building block where we started on G and end on G

So let's repeat part of the beginning.

GBD EFDB C#DBGBD EFD B C#D

Now let's remove the first 2 notes.

DEFDBC#DBGBDEFDBC#D

Let's remove the first 4 notes

BC#DBGBDEFDBC#D

See how it changes the way you here it ?

Let's look at another for G7

Descending

DBGEFDBC#DBGDF long ring

Another one.

B AG EFDBGBC#DF G B

 

What does that have to do with this threads topic ?

What is the point you are making?

That information was on melodic embellishment in a totally different context than this thread .

 

Last edited: Nov 24, 2021

I am a mere disciple. I am spreading the Gospels Of Temperament as dictated by yourself in days of yore. Do you not recognise your own lessons? They are here for the betterment of all. Let us pray that some enlightenment is shone upon any who readeth the aboveth.
Amen.

 

No. I lie. I'm just bored by the whole thing. Like all of your endless talking in an anechoic chamber where the only person who finds the topic interesting is you.
Please report me. I am waiting for the mods to delete my account. Only a few people possess a sense of humour here and the lack of wit makes for monotonous dialogues as the cut and paste above illustrates.

 

Relax homes ,

If you have a question about something just ask
Lol
( yes I do enjoy humor too )
I was asking if you had a question about something or wanted to expand on an area for clarification.

What is with the tatrum ?
Lol
( i always find it funny when a person has a question and tries to frame it as an accusation .

The only person who finds the topic interesting is me ?
Lol
Why are you here then ?
Its a nutty thing to say mayn.

If you want to ask questions about something you don't quite understand thats okay .

Is that why you posted that last bit ?

Something in there you had questions about?

 

Questions? Maybe.... "why do you cling to the idea that Audiosex is the correct forum for your 'teachings'...?" As my cut/paste example above illustrates, you drone on and on regardless of whether anybody cares. Another question is in relation to why we've been waiting for five years to hear your music. Other learned musicians here have recorded albums with some of the best jazz players in the world. Names that would leave you awestruck. You can't lay claim to being a teacher in the Education section just because you say you are a teacher. You must have credentials. And you sir, do not. Desist with this nonsense at once.

 

You've been a member a pretty short time , you barely have done anything here .
You lead with a plethora of preconceived notions and nested hidden assumptions ( which somehow you live by a different set of rules than you hold others to ?)
I'm all for clowning around , its just that
" rainbow polish for clown shoes "
Isn't my religion. Lol



It'll be easier for me to be sympathetic to your temper tantrums , if you work on differentiating between fantasy and reality .

Who is " we "?
( you and your 4 other accounts?

( i suggest a philosophical idea called
" establishing first principles " it really helps to sort out one's preconceived notions and bring their hidden assumptions to the forefront .
Thanks so much for the conversation I appreciate these interactions in the thread .

 

Last edited: Nov 24, 2021

Guys please. Is there a dam' way that you could participate in a thread about theory without fighting?

Please calm down, don't go personal.

Let people say what they have to say, even if you disagree, there is no need to discredit others using personal qualifications.

 

Ok I have read this thread....phew.... no small feat...

IMPARTIALLY - with no sides taken and speaking from being exposed to it for decades professionally that I won't bore anyone with...

• Music has been called a language.
• Victor Wooten calls it a Universal language as have many decades before him.
• Some people say it has no language of its own and singers use what exists so it has no uniqueness.
• Countering that, scat singers who use often unintelligble syllables that belong in no dictionary of any language dispel the prior statement to a degree....
• Now to remove the spoken and define what the word 'language' means - Summarised - A system of communication.

As for the debate on whether or not music is Universal and a language - If you put musicians from different countries who speak no language other than their native tongue in the same room...a Russian, a Brazilian, Arabic, English, French, German, African and Chinese... and they cannot communicate other than pointing at objects, it is a lengthy and frustrating form of communication.
HOWEVER, if you put a septet piece in front of each of them in written music, they can all communicate in dynamics, interaction and interpretation almost perfectly and simultaneously. That's not too different to speaking in a native tongue, except it is by audio and sight and ear. I'd say that is at least a good starting argument that music might be a Universal language.

As you all were. You do not have to shit on each other because you disagree - Just an observation.
I am not commenting on the imagery or borderline bullying and almost nastiness other than it's unnecessary.

 

Last edited by a moderator: Nov 24, 2021

I'm sorry to disagree with you. That musical model you're talking about is about the music of the past. The music of the past had an alphabet and you could make music with that alphabet. In the past, everyone could make their own music with that alphabet, which could be totally different from someone else's, so that they wouldn't understand each other's music at all. Common alphabet, but completely different music.

Today's music has neither the alphabet nor the fixed principles, nor the structures of past music, and it has nothing to do with language.

 

Hi , how are you doing ?

Can you give one example of a song
Which meets your criteria of

" today's music has neither the alphabet nor the fixed
Principles , nor the structures of the past music ,
And it has nothing to do with language. "

The reason I am asking you to provide just one song , is so that I can understand what information your statement is communicating sir .
Thank you .

 

Last edited: Nov 24, 2021

please, what do they communicate? is there any chance, to point to an object, to ask a question? maybe, but only maybe you could communicate emotions to your next. universal? the best con example: jazz. 90 % of the mankind doesnt understand what the band of musicians wants to do, let alone communicate, do they?
a languages got words, a grammar, sentences, chapters/thoughts, you name it. everything is contained in the language of music, of course. but the content, the meaning? nothing universal, worldwide, understandable. no statement. even the http language "tells" more.
please dont misunderstand me, i like music but as a language, theres a lot missing!

 

Hello my friend ,
How is everything ?
I know it wasn't directly addressed to me but is it okay to answer?

Each music language has its own deep level of meaning.

If we take for example one of them

Tonal music language
( Functional harmony)
The three functions are the deepest level of meaning

Tonic
Subdominant
Dominant

So in music you have the surface level structures
( such as chords , lines , riffs , licks , melody )

These are the surface level structures that communicate the deep level of meaning .

( Functions )

Tonic home hero relaxed passive still
Dominant the villain , tension , active , motion

Subdominant the journey traveling away from home.


These are the deep meaning being communicated
( in the context of a KEY )

There are 3 functional blueprints
That all progressions and song sections are built from

( the ways functions connect)

Tonic / Subdominant/ Tonic
( heros journey )

Tonic / Dominant/ tonic
( hero defeats villian)

Subdominant/Dominant/tonic
( journey then hero defeats villian )

[ * you can duplicate the function on the end to make even four ]

This is the deep meaning that is being communicated

( this specific context i described is

Harmonic meaning communicated in one specific language
( tonal music)

Each musical language has its own unique harmonic meaning.

That covers the meaning communicated by harmony
There is
Also Melodic meaning communicated
And rhythmic meaning communicated
Each context has different meaning communicated

 

Last edited: Nov 25, 2021

It's perfectly ok to disagree

You have to realise though that every single music school in the world that offers any kind of degree in music and music performance, not engineering, will fail you without the ability to read and understand the alphabet you say is antiquated that has been around for more centuries than ten generations of anyone's families here have lived. Every major music show featuring multiple Pop artists with a backing band are all reading that 'antiquated 'communication.

As far as a lot of music on the Internet that is popular goes, you would be correct. I am not a clairvoyant so I do not know if current Pop and EDM music will be the norm in 100 years. If history is any indicator, it won't be as everything changes. Some things remain the same and the alphabet that you suggest is antiquated is still around everywhere. It will still be there in 100 years until someone else works out a different way to write it and publish it.

 

Last edited by a moderator: Nov 24, 2021

I hear what you are suggesting.
If this was true, the those huge selling love songs would never have touched anyone and sold millions over the last 100 years. Jazz musician's interaction and their onstage musical communication is one of the singularly most important differences between a great jazz musician and only a good one. This is all done audibly in music and can be done on paper in some cases. This is different to pop music. But I figure a person has to research themselves if they want the answers outside of a forum.

 

I am not a clairvoyant either , but in a 100 years from now I think they will be singing Viking Operas about the epic quest of BaSsDuDe valiantly trying to redeem the irredeemable Foster McGraw. And crowds will flock to see the signature on BaSsDuDe's tombstone carved in stone from his AudioSex signature as a lesson for future generations. I've no idea what it will sound like - probably a bit Klingonesque.

 

It's Foster? OMG I am getting worse at 'smells like Foster spirit'... My signature seems true, I am coming out more stupid than when I entered.

 

Today's music is not something they teach in music schools. In music schools, they teach the basics and principles of dead art (the past art). An art that doesn't entertain anyone and is not listened to much right now.