Testing

Sometimes I get really pissed at my gf.  Seems like we're speaking different languages and there are all these things I want to say, but I can't say them because there's no understanding and there's not want to really understand; or more so because we have different interests sometimes and that's that, and well, if you want to be with someone you have to deal – the person you're with now is who they will be and changes are good and great but they are few and far between.  Sometimes I think she's all numbers and letters, and her equations don't solve my imageries.

I guess it's a matter of differences – and I get impulses sometimes that we're so different – but maybe because deep down we're the same. I mean, look at me – I copped out and got a finance degree and did all the usual bullshit.  And now cause of all the benefits that comes with the practical background, I can sit back and play artist wannabe.  And then I get pissed at people who are true to what they want – like her – because I can't be.  It's a matter of balls.  Having enough balls to tell yourself, enough already – stop hating on other people and do something about it.

But then again, doing something about means something doesn't it?  If she doesn't understand where I'm coming from in some areas, is that really so important?  If her concerns are gonna be on GMATs and schools and all the rest of the stuff (even if we have a common connection on travel – but even there the style is different!) and my concerns are all over the place – where I don't want to think about school and I think that it's typical and boring then what are we left with?

For instance.  I can't talk about  counterpoint.  I can't talk about modulations in major fifths and how if you make a tiny difference in the thirds it would become a minor and then the whole complexion of the song changes – from exaltation to misery, from tartness to bitterness, from grandeur to somberness – or then if you keep the third on the major and shift the octave note down by a half (not whole step!) it becomes a major 7th, which I think is much better than the obvious and cliched minor 7th (whole step drop) – cause then now the piece is really about texture and the melancholy of movement, of leaving and departure, of goodbyes and the slow mournful turning of day into dusk; whereas the minor 7th is much more about the ominous rainclouds and the playful lightning storms of a wet Spring afternoon.  And what about sustained notes?  I love how Gsus makes such a great bridge to C major.  The same goes for Dsus to G major (7th!). And triplets or binary rythmn! Repeat and rinse and the musical piece elevates to something beyond mathematics and music theory – it becomes emotional (emotions!) and then you're really beginning to talk about hope.  Assured hopes and elevated dreams and the want to something beyond extra zeros in your bank statements.

I love how in "Rebellion (Lies)" by Arcade Fire, the song is struggling between the dark minor 

"people say that your dreams are the only things that save ya. come on baby in our dreams, we can live our misbehaviour"

and the foreshadowing major breakthroughs of

"everytime you close your eyes."

As the song goes through it's various modulations, you get hints that the lyrics is gonna break through the message of repression and authority. As the notes evolve and as the grating thematic clashes between the major and minor build toward their crescendoes, the listener is forced into some sort of reaction.  Passiveness isn't an option, cause you are forced into the movement, the bloodflow of the song.  Add to that the steady bass lines thrumming in the background, pushing the minor modulations higher and higher until the lyrics end at the edge of the oblivion

"everytime you close your eyes.. lies!",

and the song sprouts cherubic wings and takes flight — soaring into the majestic choral background of major-minor-minor-major ecstasy.  (of course, it dips back into a little minor valley, but then it goes off into the bright glare of pure music... where the lyrics fade and the music in your head create your own words).  I love how when it switches to major at the end, there's a shift in the chord family – it's a subtle difference (and somewhat trite), but one that really works,  bringing the song to the mountaintop.

Poem attempt: (11, 11, 9, 11, 8):

See ya Later

Off you go into your great escape, tramping
Upon roads paved with our dreams, teeming full of
Hopes showered in waves, your bright eyes wide
Clambering o’er unnamed untamed slopes, swinging
From the round yellow moon balloon 

I want to leave our together forever
Let the world pass us on by, why then only
Stars can fade and crash, as we grow old
Forgetting is rememb’ring what’s far, but why
Then can I taste you here so near?