Top products from r/titlegore

We found 7 product mentions on r/titlegore. We ranked the 6 resulting products by number of redditors who mentioned them. Here are the top 20.

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Top comments that mention products on r/titlegore:

u/_The_Professor_ · 0 pointsr/titlegore

I'm sorry if your feelings were hurt. That wasn't my intention.

>it would have been nice if you just read the thread

I did read the thread, and your explanatory text too. And things are certainly clearer there. But the sub I submitted this to is called /r/titlegore, not /r/threadgore. Again, I'm sorry if this upset you.

I'm glad you found four people who could offer you some comments. But if you'd wanted more technical, historically- and theoretically-informed answers to your query, it would have been better to formulate your question more precisely and clearly.

Now that I understand more of what you were getting at, perhaps I can offer some guidance:

(1) Modern Western pitch-naming derives from a system that has its origins in ancient Greek music theory and was applied in Medieval times (using the labels Γ A B C D E F G a b c d e f g aa bb cc dd ee) to a diatonic system that had no chromatics in it (or chromatics that were only introduced during performance, not in notation). So our modern system of using letters (A B C D E F G) originated when that's all that was needed, nothing in between.

(2) As chromatic pitches made their way into Western music, the easiest way to indicate them was as alterations of the diatonic pitches that were normative at the time. So they would write two kinds of B: a "hard" B (which was written like a squared lower-case b, and eventually became our modern natural symbol) and a "soft" b (which looks like a regular lower-case b, and eventually became our modern flat symbol).

(3) Probably the earliest example of a unique and equally differentiated label (what I assume you mean by "serious") for a pitch outside the original diatonic system is the use of H for our modern B-natural and B for our modern B-flat. This still persists in certain Germanic countries and languages (hence the use of titles like Fugue in H for a piece in B and Sinfonie in B for a piece in B-flat. While B and H look unique these days, they still evince their origin as variations of the letter B.

(4) Raised pitches were indicated by an X (and variations on it) as a kind of "crossing out" of the diatonic pitch, to be replaced by the chromatic one. This X eventually became our modern sharp symbol, and -- like the flat -- is evidence of the a priori referential status of the diatonic pitches in Western musicians' minds at the time.

(5) The very term "chromatic" belies the prejudice that there are normative pitches (A B C D E F G) and colorations of them (like F#). And for hundreds of years, this was a rather accurate representation of the hierarchy between diatonic and chromatic pitches.

(6) With the rise of transposition, specifically moving the tonic to pitches other than C, the diatonic collection of pitches was no longer tied only to the pitches A B C D E F and G. For example, in the key of D major, a C-sharp is diatonic but a C-natural is chromatic. But the letter-name symbology, and even the very structure of the keyboard (on the organ, clavichord, harpsichord, piano, and other similar instruments) remained entrenched in Western musical thought and practice, giving certain pitches a more normative status and making others dependent on them.

(7) Some musicians have developed systems to represent the twelve unique pitch classes (C, C#/Db, D, etc.) with labels devoid of prejudice towards diatonicism. The most widely used is integer notation, in which C is labeled 0, C# or Db is labeled 1, D is labeled 2, and so on. In this way, for example, a whole-tone scale starting on C can be represented as 02468T (with "T" for 10) and a whole-tone scale starting on A would be 9E1357 (with "E" for 11) -- no "chromatic" notation necessary. This is widely used in theoretical writing about non-tonal music (in scholarly books and articles), but as far as I know has never been used successfully as a means of notating music for performance.

(8) When it comes to pitches "in the cracks" between the traditional 12 pitch classes (i.e., pitches not on the traditional keyboard), most notational systems still use a normative vs. altered approach, which gives more primal status to 12-tone equal temperament over microtones. Here's one example. Would these be examples of classifications you call "not serious"?

(9) There have been attempts to label microtones without using staff notation, since staff notation is clearly prejudiced towards diatonicism. Here's one attempt, but even that seems to view the 12 equal-tempered pitch classes as normative (0, 1, 2, etc.) and microtones as measured from them (2.4, 5.1, etc.).

(10) There have been scattered attempts at creating non-hierarchical systems, to avoid the very prejudice you've alluded to. Frequency is one method (C=261.1Hz; a quarter tone above that is 269.2654651Hz; and so on). None of these has caught on to any significant extent, mostly because they are so foreign from the systems that Western musicians have been steeped in for their entire musical lives.

Hoping this helps!

u/lilzilla · 1 pointr/titlegore

I'm sure the movie's awful, but it's based on a completely charming kid's book which I fondly remember from my youth: The Stupids Step Out

u/jamesmango · -1 pointsr/titlegore

Needs punctuation. I know what the title conveys, but it's one of those "eats shoots and leaves" kind of sentences.

EDIT; Eats Shoots and Leaves as in the book on punctuation.

u/robotortoise · 4 pointsr/titlegore

No no no. I meant THIS kind of Amazon product title. The kind where they throw in a bunch of keywords in the title to get better search results.