the way La fête des Gaulois plays around with things being in 3 or 4 is very fun www.youtube.com/watch?v=yb1G...
Posts by derek志豪
Been listening to a bit of Itiberê Orquestra Família . The part at 4:21 onwards in Interiores kind of reminds me of Shrovetide Fair from Stravinsky's Petrushka naturebliss.bandcamp.com/track/interi...
came across them when trying to get intuition of ranges of coefficients for l1-regularization, but then they'll also be good metrics to use for experiments. i read the kuha journals.sagepub.com/doi/10.1177/... but also reading through cavanaugh and neath aic and bic papers
en.wikipedia.org/wiki/Akaike_...
en.wikipedia.org/wiki/Bayesia...
I have been reading AIC (and BIC) papers and the Jackson 5 song keeps popping in my head.
so there's Contrastive Language-Image Pretraining (CLIP) and Contrastive Language-Audio Pretraining (CLAP),..... there has to be one for horses, right?
in the middle, there's a bit where the ii (D minor, natural A) gets tonicized through a secondary ii-V (arguably the prettiest part of the song where the peak of the melody emphasizes that natural 6 - b7 half step) but then it's followed with Abs, elaborating on the chromatic motion from before
one thing about mina kubota's barcarolle from the aria anime youtu.be/_19QEzQ49ZU is that it has quite a bit of mode mixture, but there's a lot of times where there's natural 6 and b7, so there's nice b7, natural 6, b6 chromatic motion in the second time through the melody (with neighbor notes)
Picture of saucer magnolia blossoms coming in against a blue sky with whispy clouds.
saucer magnolia blossoms are starting to come in, exciting times
was learning about the Gumbel distribution a bit ago which made me keep thinking about the Gumbels from TV and so when I learned that the maximum of independent Gumbels is Gumbel I thought to myself, of course, how could it be any other way
decade+ since music school (and even longer since drilling orchestra excerpts) and I finally have a dream about the Appalachian Spring xylophone excerpt
I'm building a way to keep notes on papers I read with Hugo, which I know nothing about, and Claude is helping me themes, generating layouts, archetypes, and doing regex to pull out years from filenames... then also helping me with automate the build on GitHub using actions and it all somehow works
good title
not sure if it is because of my love of glockenspiels (-spiele?) and crotales (which aren't music box plucked tines but eh, similar enough) or nostalgia as i grew up somewhat obsessed with music boxes (and i still think they're really cool)
my fav revue is still re:create from the show, partly because i'm an absolute sucker for sparse music box-ish textures (4:17), particularly when surrounded by much lusher orchestration. www.youtube.com/watch?v=gV8f...
it's kinda amusing how blatant tomohiro furukawa can be with his themes, particularly visually (not unlike ikuhara).
anyways, the big takeaway is that sayaka oohara voices karen's mom in the movie and i dunno why it took me long to figure that out, given how many times i've rewatched aria and this
been awhile since i've stood on a 'real' stage but it's kinda funny what mystique the 'stage' holds (at least for me) despite it being not all that physically distinct from the rest of the auditorium/hall, and then you start thinking what can be a stage and extend that out metaphorically
rewatched the revue starlight movie again (4th time i guess, i swear i watch other things too) and once again thinking about what stages are/mean as well as practice, roles, rules, frameworks, and the people/things that (ful)fill them. you know, simple things really.
'Branch and Bound' sounds like an upper-midscale chain of houseware stores that would carry painted tree branches sold as hat racks or to hang your keys from
it does make the chorus stand out less than in the original since everything is punchier and thicker/more busy more often. but both are good in their own ways. i kinda do miss the glockenspiel tinklies that seem to be in a lot of earlier vocaloid tunes (or at least kz/livetune stuff)
instrumentation is punchier compared to the original. bass has more overtones and higher in the mix, snare stuff is way higher in the mix, even the bass drum is higher in the mix during the verse. the big reverby bits that demarcate sections sound lower in the mix www.youtube.com/watch?v=PqJN...
was already looking forward to the 'cosmic princess kaguya' movie but now the yt channel is posting seiyuu covers of classic vocaloid songs like saori hayami singing kz's 'tell your world' www.youtube.com/watch?v=24OI...
had a dream last night about a language model but the inputs and outputs were dalmatian-colored frogs. you could conditionally generate new frogs by gently placing the frogs to condition on into a little open box. similar procedures for fine-tuning for other downstream (sorry) frog-related tasks.
little path in/near the neighborhood
round black and brown bird with sparse white feathers
but then does the usual IV-iii-vi-ii-iii-IV but then V/bIII which is the same bII/vi as before (Db7) and acts and kind of like our pivot to Gb major. fun tune.
www.youtube.com/watch?v=EmFx...
today's jam. most of the song is in Eb major and does this ii-V-I-V/ii thing but then it modulates to the bIII in Gb major which immediately does this I-V/IV thing and it's great. it gets there through the bridge which does IV-bII/vi-vi-iii-V/V in Eb major.
'points on the curve to find' would be a good title for an ml paper
www.youtube.com/watch?v=JMMj...
happy 100th berio
berio's folk songs (particularly loosin yelav and particularly dawn upshaw singing it) is the piece that got me hooked (and still one of my favorites of his)
www.youtube.com/watch?v=JkTe...