Red Mosquito

harmless wrote:

Mike wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Total Joya!

harmless wrote:

CupidStunt wrote:

harmless wrote:

CupidStunt wrote:

harmless wrote:

CupidStunt wrote:Can you even get minor power chords? Minors aren't angry, they're sad.

Minors aren't angry, they're sad? Um... that surely depends on the song. Angry / sad / depressing. They're negative as opposed to positive, that's my point. I don't think we need to argue about the emotions they provoke.

Haha, I have no intention of arguing with you. I was just saying minor chords have always hit me as more sorrowful than angry. Angry is normally aggressive and aggressive music tends to lend itself more to brash, major sounding notes/chords. Minor chords normally belong in more delicate, intricate music in my experience.

"Grunge" (Nirvana et al) was mostly made up of minor chords, right? As far as I know PJ were unusual among those bands for using plenty of major chords in a more classic rock manner.

I'm not sure I agree with that. I hate the grunge box but here goes. Nirvana's music was mainly power chord based, meaning, as discussed above and explained well by McPardigm that the chords were not minor or major, neither male or female; they're hermaphrodites. The feel of a song and scale/progression is what will dictate whether you, the listener, perceive the sounds to be major or minor.

I guess what you're saying is out of all bands bundled into the grunge box, the main thing they had in common is that their music was either sad or angst, so that's where I think you're getting the impression that the whole movement was built on minor chords.

Well, yeah. Which I acknowledged. I'm not a guitarist, the only thing I'm contesting is that "sad" or "angry" aren't really mutually exclusive things. All I know is that the guitarist of my old band differentiated hard / heavy / "grungy" songs from typical rock songs because they had minor chords. How wrong or right he was, I have no idea. Whether "grunge" existed is another conversation, I'm using the term as a shorthand for stuff we probably both associate with the term.

CupidStunt wrote:

harmless wrote:

CupidStunt wrote:

harmless wrote:

CupidStunt wrote:

harmless wrote:

CupidStunt wrote:Can you even get minor power chords? Minors aren't angry, they're sad.

Minors aren't angry, they're sad? Um... that surely depends on the song. Angry / sad / depressing. They're negative as opposed to positive, that's my point. I don't think we need to argue about the emotions they provoke.

Haha, I have no intention of arguing with you. I was just saying minor chords have always hit me as more sorrowful than angry. Angry is normally aggressive and aggressive music tends to lend itself more to brash, major sounding notes/chords. Minor chords normally belong in more delicate, intricate music in my experience.

"Grunge" (Nirvana et al) was mostly made up of minor chords, right? As far as I know PJ were unusual among those bands for using plenty of major chords in a more classic rock manner.

I'm not sure I agree with that. I hate the grunge box but here goes. Nirvana's music was mainly power chord based, meaning, as discussed above and explained well by McPardigm that the chords were not minor or major, neither male or female; they're hermaphrodites. The feel of a song and scale/progression is what will dictate whether you, the listener, perceive the sounds to be major or minor.

I guess what you're saying is out of all bands bundled into the grunge box, the main thing they had in common is that their music was either sad or angst, so that's where I think you're getting the impression that the whole movement was built on minor chords.

Well, yeah. Which I acknowledged. I'm not a guitarist, the only thing I'm contesting is that "sad" or "angry" aren't really mutually exclusive things. All I know is that the guitarist of my old band differentiated hard / heavy / "grungy" songs from typical rock songs because they had minor chords. How wrong or right he was, I have no idea. Whether "grunge" existed is another conversation, I'm using the term as a shorthand for stuff we probably both associate with the term.

I'd say that's a pretty big generalisation to make.

There are major, minor and neutral chords in all sorts of rock music.

harmless wrote:We're both working with generalisations here.

ABNorman wrote:

harmless wrote:We're both working with generalisations here.

This is pretty standard discussion forum practice.

Lostdog wrote:

harmless wrote:

Mike wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Total Joya!

total gem

hlniv wrote:

Lostdog wrote:

harmless wrote:

Mike wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Total Joya!

total gem

That sounds sexy. I was expecting a plodding snoozer from some of the reviews. Knowing Mike has a solo that anyone could possibly describe as "insane" is very promising. Sounds like a slow build to crescendo type of song. Perfect.

harmless wrote:

ABNorman wrote:

harmless wrote:We're both working with generalisations here.

This is pretty standard discussion forum practice.

Exactly. So I just find it an annoying and hypocritical accusation. All it means is "My generalisations are better than yours."

hlniv wrote:

Lostdog wrote:

harmless wrote:

Mike wrote:

Lostdog wrote:11 - 'Yellow Moon' - For us the most great song on the disc. An instant classic Pearl Jam that starts with a chord progression similar to 'Low Light'. Vedder's voice enters in a unsettling stretching. The warmth of the subject reaches the zenith both in the moments that Vedder exclaims 'Born To Rise' as in the various sequences featuring the solazos of McCready. These somewhat reminiscent of Pink Floyd, like the whole somewhat stylistic refers to 'Parting Ways' (or even 'Long Road'). It seems the perfect song to start the next concert tour of Pearl Jam. Total Joya. Mike is insane,completely after 3 minutes.

Total Joya!

total gem

That sounds sexy. I was expecting a plodding snoozer from some of the reviews. Knowing Mike has a solo that anyone could possibly describe as "insane" is very promising. Sounds like a slow build to crescendo type of song. Perfect.

Thejambi wrote:Power chords aren't chords.

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

McParadigm wrote:This is sort of reminding me of when Backspacer came out, and Allesiana (sp??) kept talking about the use of arpeggios in songs like Fixer, as if calling them arpeggios made the piece more remarkable or sophisticated, or just indefinably "better."

ABNorman wrote:

harmless wrote:

Thejambi wrote:Power chords aren't chords.

Yeah I've heard that.

IIRC, the kinda dictionary definition of "chord" requires 3 distinct notes, whereas a power "chord" is made up of 2. But hell, it sounds like a chord to me.

McParadigm wrote:

harmless wrote:Habit is awesome for every reason under the sun.

So many thumbs.

And all of them fully erect.

nomorecrackpipes wrote:http://youtu.be/NSXznnLDZI0?t=14m2s