There you go, lying through your teeth again.
First off, I didn't use my weight for anything. People volunteered to come in on my side of the debate because they felt I was right. It's not my fault you can't get any support from others around here, and I can.
As for the whole melodic minor thing, here, I'll provide a link to where I said it.
http://www.physforum.com/index.php?showtop...ndpost&p=369304Now, if rpenner is so inclined, he can follow the argument. I wonder if he'll pick up on the fact that you continually misidentified the jazz minor as the melodic minor (it's a variation with the same descending intervals as ascending, and it's what you kept calling the melodic minor), or if he'll pick up on your complete misunderstanding of the concept of retrograde inversion, or on your claims to have produced a new, octave-repeating scale in a 12 tone octave, or on your claims of when retrograde inversion and tonal inversion (which you continually mislabel as 'mirroring') were invented and by whom.
What do you think? Will he notice those things, or is he musically illiterate enough not to? Trippy caught onto at least one of your errors, and he has no musical education at all...
Find me even one place where I claimed to be doing science.
Go ahead, it's just above in this very post. Of course, it didn't happen the way you claim it did, and anyone who cares (I honestly doubt if rpenner does) can see that you're lying through your teeth right now.
I know. Likely because I know more than you about it, and am not too humble to rub it in your face when you pretend otherwise.

See, the thing is that if you'd just man up when you mess up, admit your mistakes, and stop this idiotic crusade, I'd be much nicer to you. I wouldn't point out your every fallacy, hypocrisy and idiocy. I'd let minor mistakes slide, because there's no point in pissing you off, if you're a decent guy.
But you're not. You're an insufferable buffoon who lies like he was allergic to the truth in order to pass judgement on people you've never even met, and you're an idiot too, so I'll always be rude to you.
The only line I need from that post is where you said this:
.............The formula for a melodic minor scale is W H W W H W* H (W* is an augmented 2nd)............
So maybe Rob would like to get his sister to confirm that I was right when I told Mpants that that wasn't the formula for the melodic minor, but was actually the formula for the Harmonic minor.
So it has nothing to do with "jazz Minor" which I'm familiar with. Every music book, and every internet link on music that gives the spelling of these formulas will confirm me as right.
The next thirty posts from that point was you stubbornly denying what I was saying, Trippy chipping in that he had some links where it could be confirmed you were right (but of course wasn't supplying the links), theDoc, Grumpy and can't remember who else confirming that you were right. But actually you made an error, refused to correct it, and used that to stiffle any real discussion that may have ensued. So, as far as I'm concerned you're a waste of time from now on. And it is no great privilage to have a bunch of dodgy personalities confirming each other's scams.
And that sums up why you have been a dissapointment. You go on about integrity, but all you're about is lording it over the people whenever you can.
Tell you what Mpants, put your answer up in the homework section here. Get all the young students to use your spelling of the melodic minor from now on.
occidental
30th May 2009 - 02:05 PM
So whats with all the screennames, Lui? Is it so you can chase people around and point out how much you dont like them? Why should a poster that was REPEATEDLY banned for being OFFENSIVE get to come back under a new screen name, with an attitude more foul than the last? All you do is spew insults and degrade the people on this forum, say how much you hate this place, and say youre leaving. Then you come back -again and again and again.
Youre a habitual liar. Your post history over more than ten screennames with all your denials and claims about who you are proves it. YOU have no credibility. End of story.
And thats before we even open your book to look at your creationist bullexcrement. Go over to answersingenesis.com if you want to be received as a Savior. But get it through your head that you will never be viewed as a savior here with that intelligent design crap youre pushing. You cant even define the terms and expressions you use. In fact, you cant even discuss the terms and expressions you use without launching into a smokescreen of diversionary lies to hide the fact that your work is total mystic crap.
Youre a very angry and confused mystic, LuiDiMartino.
TobyNotToby
30th May 2009 - 02:38 PM
QUOTE (occidental+May 30 2009, 02:05 PM)
So whats with all the screennames, Lui? Is it so you can chase people around and point out how much you dont like them? Why should a poster that was REPEATEDLY banned for being OFFENSIVE get to come back under a new screen name, with an attitude more foul than the last? All you do is spew insults and degrade the people on this forum, say how much you hate this place, and say youre leaving. Then you come back -again and again and again.
Youre a habitual liar. Your post history over more than ten screennames with all your denials and claims about who you are proves it. YOU have no credibility. End of story.
And thats before we even open your book to look at your creationist bullexcrement. Go over to answersingenesis.com if you want to be received as a Savior. But get it through your head that you will never be viewed as a savior here with that intelligent design crap youre pushing. You cant even define the terms and expressions you use. In fact, you cant even discuss the terms and expressions you use without launching into a smokescreen of diversionary lies to hide the fact that your work is total mystic crap.
Youre a very angry and confused mystic, LuiDiMartino.
You spew the same old crap, but you never touch on the fact you can't answer very very basic music theory questions, and so your opinion is totally worthless.
I'd like not to have to keep responding to a tosser like you, but then I also don't see why you should get away with your pathetic mind games.
occidental
30th May 2009 - 02:54 PM
Smokescreen.
MjolnirPants
30th May 2009 - 06:58 PM
QUOTE (TobyNotToby+May 30 2009, 07:39 AM)
The only line I need from that post is where you said this:
.............The formula for a melodic minor scale is W H W W H W* H (W* is an augmented 2nd)............
So you're admitting to quote mining my post in order to support your position? Good. It's good to admit your wrongdoings.
QUOTE
So maybe Rob would like to get his sister to confirm that I was right when I told Mpants that that wasn't the formula for the melodic minor, but was actually the formula for the Harmonic minor.
Liu... I said in the very post I said that last line in that it was the harmonic minor. For all we know, you were just parroting back what I'd already told you.

QUOTE (->
| QUOTE |
| So maybe Rob would like to get his sister to confirm that I was right when I told Mpants that that wasn't the formula for the melodic minor, but was actually the formula for the Harmonic minor. |
Liu... I said in the very post I said that last line in that it was the harmonic minor. For all we know, you were just parroting back what I'd already told you.

So it has nothing to do with "jazz Minor" which I'm familiar with.
Obviously, you kept putting it's formula in your posts, although you kept calling it the melodic minor...
QUOTE
Every music book, and every internet link on music that gives the spelling of these formulas will confirm me as right.
Really? Here's wikipedia:
QUOTE (->
| QUOTE |
| Every music book, and every internet link on music that gives the spelling of these formulas will confirm me as right. |
Really? Here's wikipedia:The interval between the sixth and seventh degrees of this scale (in this case F and G♯) is a minor third/augmented second. While some composers, notably Mozart, have used this interval to advantage in melodic composition, other composers, having felt it to be an awkward leap, particularly in vocal music, considered a whole step between these two scale degrees more conducive to smooth melody writing, so either the subtonic seventh was used or the sixth scale degree raised.
Traditionally, music theorists have called these two options the ascending melodic (also known as heptatonia seconda) and descending melodic minor scales, the ascending being identical in its upper tetrachord to the major scale, and the descending being simply the natural minor: A B C D E F♯ G♯ A' and then A' G F E D C B A respectively.http://en.wikipedia.org/wiki/Minor_scaleHow's that foot taste, Liu?
QUOTE
The next thirty posts from that point was you stubbornly denying what I was saying,
Because you were lying. Of course I deny lies about me.
QUOTE (->
| QUOTE |
| The next thirty posts from that point was you stubbornly denying what I was saying, |
Because you were lying. Of course I deny lies about me.
Trippy chipping in that he had some links where it could be confirmed you were right (but of course wasn't supplying the links),
He offered to, in exchange for the same considerations from you that I was asking for. You declined, so don't blame him.
QUOTE
theDoc, Grumpy and can't remember who else confirming that you were right.
Hehe
QUOTE (->
| QUOTE |
| theDoc, Grumpy and can't remember who else confirming that you were right. |
Hehe
But actually you made an error, refused to correct it, and used that to stiffle any real discussion that may have ensued.
You were the one who kept (and keeps) bringing it up, stifling any other discussion in favor of this stupid rehashing.
QUOTE
So, as far as I'm concerned you're a waste of time from now on. And it is no great privilage to have a bunch of dodgy personalities confirming each other's scams.
More abuse, Liu? I thought you didn't approve of abusing people online?
QUOTE (->
| QUOTE |
| So, as far as I'm concerned you're a waste of time from now on. And it is no great privilage to have a bunch of dodgy personalities confirming each other's scams. |
More abuse, Liu? I thought you didn't approve of abusing people online?
Tell you what Mpants, put your answer up in the homework section here. Get all the young students to use your spelling of the melodic minor from now on.
There is no "spelling", there is only a "formula" or "intervals". "Spelling" is an amateur's vocabulary, not that of an educated musician.
Oh, and my formula has two forms: one for ascending and one for descending.
QUOTE (rpenner+)
Capt. Hammer-Pants?
Hehehe.
A man's gotta do what a man's gotta do...
TobyNotToby
30th May 2009 - 08:18 PM
QUOTE (MjolnirPants+May 30 2009, 06:58 PM)
So you're admitting to quote mining my post in order to support your position? Good. It's good to admit your wrongdoings.
Liu... I said in the very post I said that last line in that it was the harmonic minor. For all we know, you were just parroting back what I'd already told you.

Obviously, you kept putting it's formula in your posts, although you kept calling it the melodic minor...
Really? Here's wikipedia:
http://en.wikipedia.org/wiki/Minor_scaleHow's that foot taste, Liu?
Because you were lying. Of course I deny lies about me.
He offered to, in exchange for the same considerations from you that I was asking for. You declined, so don't blame him.
Hehe
You were the one who kept (and keeps) bringing it up, stifling any other discussion in favor of this stupid rehashing.
More abuse, Liu? I thought you didn't approve of abusing people online?
There is no "spelling", there is only a "formula" or "intervals". "Spelling" is an amateur's vocabulary, not that of an educated musician.
Oh, and my formula has two forms: one for ascending and one for descending.
QUOTE (rpenner+)
Capt. Hammer-Pants?
Hehehe.
A man's gotta do what a man's gotta do...
You made an error, and you thought you were bigger than science by playing pathetic little games with others. That's you MP. No doubt that you and other prima donnas like Occidental will always have a home here. The rest of us with something to offer will go searching for those with real integrity in science in order to do our duty and report what we find.
You're running out of people to pick on though.
You didn't live up to your own standard MP. You're just a fake on this one. I've never seen a bigger waste of a 180 IQ as I have witnessed in your behavior.
For any music student interested , Mpants is completely mistaken in his spelling of the Melodic Minor. When he says this:
............The formula for a melodic minor scale is W H W W H W* H (W* is an augmented 2nd)............
This is the formula for the Harmonic minor. Put a root note to the formula and here is what you get:
A B C D E F G# A
This is Harmonic Minor.
So why he should send in a link that shows he is wrong, as if it actually shows him right, is a bit strange.
In his link the correct spelling of melodic minor is given, by the notes
A B C D E F# G# A
As you can see this doesn't match up with his spelling. Consider the rest of his speil as a way of trying to confuse the issue. He got it wrong, and therefore was able to keep on with the mind game at physforum that they are the "good guys" and we are the cranks. Pitiful eh? And to think I was hoping for a fukking moderator to sort out this childish mind game stuff. Oh well, no biggie.
gmilam
30th May 2009 - 09:00 PM
Doesn't all this BS just confirm that the musical scales we currently use are all products of the human mind. WE developed these scales - not Mother Nature. Therefore any patterns we find there are due to the ratios of the notes which WE selected.
I'll say it again... you are just finding Easter Eggs that we hid from ourselves a long time ago.
buttershug
30th May 2009 - 09:33 PM
And also touchs on why Bollywood music sounds so strange to western ears.
MjolnirPants
30th May 2009 - 10:58 PM
QUOTE (TobyNotToby+May 30 2009, 03:18 PM)
You made an error, and you thought you were bigger than science by playing pathetic little games with others...
blah blah blah, more of the same bullshit and lies...
Oh shut up and move on you stupid troll. Don't you ever get sick of bitching about the same bullshit excuse for stalking me?
Jesus H, Christ, you're like an autistic kid who's told he can't have some toy....
You're full of ***, your whole argument is based on lies, excuses, and ignoring your own screwups, and in case you haven't noticed, nobody cares, dumbass!
TobyNotToby
30th May 2009 - 11:29 PM
QUOTE (gmilam+May 30 2009, 09:00 PM)
Doesn't all this BS just confirm that the musical scales we currently use are all products of the human mind. WE developed these scales - not Mother Nature. Therefore any patterns we find there are due to the ratios of the notes which WE selected.
I'll say it again... you are just finding Easter Eggs that we hid from ourselves a long time ago.
Sure gmilam, which makes it ok for your bud Mpants to tell absolute lies when he feels like it? Is that your idea of getting on? You being a musician , I find dissappointing that you couldn't correct him. Because we all know what happened after he pulled that little deceitful stroke.
So you stfu guys. You may not care, but we in the outside world look down on silly little kids taking over a forum with their silly little games.
And for you information Gmilam, the whole point of deciding to bring this "mirror structure" to the attention of others is that it doesn't just occur within music scales. It occurs within natural overtones, Fibonacci numbers and dozens of other examples. It is intrinsic. It won't go away because a select few forum huggers can't be bothered to entertain it, due to other priorities , like bashing all the cranks. Get over yourselves dudes.
What makes you think I haven't moved on MurkyPants, ya hammer horror? Your whole "argument" is based on a few pals that don't care if you're right or not, a couple of musos that wouldn't dare back me against you, and a silly forum that can't get its act together. How about some integrity after all? Think you can really manage that ya little clever clot idiot?
Grumpy
30th May 2009 - 11:57 PM
Lui
All we really care about is seeing your lying arse kicked to the curb once more, hopefully for good this time.
Grumpy
RobDegraves
31st May 2009 - 12:15 AM
OK... here's a way to settle the argument once and for all.
Toby
What is your argument... exactly?
I don't want to hear what Mjolnirpants did.. what he didn't do, etc.. blah blah blah.
What is your argument specifically and spelled out. Fresh, direct from you.
All I hear from you so far is insults, whining and dismissals. It's not content.. in fact it's anti-content.
Post your argument and let's see if you are right.
TobyNotToby
31st May 2009 - 01:08 AM
QUOTE (RobDegraves+May 31 2009, 12:15 AM)
OK... here's a way to settle the argument once and for all.
Toby
What is your argument... exactly?
I don't want to hear what Mjolnirpants did.. what he didn't do, etc.. blah blah blah.
What is your argument specifically and spelled out. Fresh, direct from you.
All I hear from you so far is insults, whining and dismissals. It's not content.. in fact it's anti-content.
Post your argument and let's see if you are right.
I've put together a more concise version of my book, with a new introduction, which will be online as soon as I finish off a few more animations that go with it.
****************************************************************
The purpose of this book is to convey the results obtained from symmetrical reflection of various formulas, both music and number based. Once a music scale has been cycled, and the mirror cycle has also been exposed, there is a focus on the symmetrical relationships between the various positions. The law of position and the clockwise/anti-clockwise flows go on to show that there is a mirror side that is not an isolated system, but one that integrates its own information with the information this side of the mirror. Both sides of these mirrored formulas will be seen to need each other in order to function as a whole unit.
The tri-tone relationships within any music scale will also be focused on. It will be seen that these tri-tone positions are catalyst for swapping information over to the other side of the mirror. The interplay that exists between two tri-tones within the major scale system will be exposed. A mirror structure is built on the logic of the swapping-over process at the tri-tones. This same mirror structure is then shown to occur in many ways using music theory and also natural number cycles, including natural overtones and the Fibonacci number sequences. The exposed mirror structure itself performs the role of uniting both sides of the mirror into one whole unit of information.
In effect, the results shown in the proceeding chapters have yet to be pondered in the way shown, and the obvious question is can we exploit this information in various ways? Therefore at the end of the book there is speculation on how this mirror information exposed can be utilized. Does it add another angle to the idea of a holographic universe, for example? Is it another useful insight into the nature of consciousness itself? Can it help thinkers concoct various experiments in order to
travel in and out of a mirror universe? Teleportation? String theory?
Information contained within various grids composed of symmetrically reflected music and number formulas will be seen to travel in and out of the mirror sides, and one asks if setting up or mimicking the results of these dual grids of frequency information can lead to a real penetration into the mirror side, in a way that will not be based on having to create masses of energy in order to travel vast distances into space. In other words do universes exist in mirror pairs that share information, and can we “ride” on that wave as it enters the mirror side at one specific axis point?
There is much speculation about creating warp speeds in order to travel through space. But is there a shorter way, as shown within the results of dual formula grids, and how the information interacts either side of the mirror? The reason such questions are asked in the first place is because of the nature of the dual cycles
of information being unearthed. With a little pondering, what at first seems extremely simple music and number cycles, one can perhaps see that the relationships unearthed can become applicable to natural process that are going on, both inside us and outside.
Of course in science there is a vast body of knowledge, built up and including many wonderful formulas. So why should simple information based on cycles have anything worthwhile to offer the science world? This is perhaps a question answerable by any scientist that takes the time to focus on the results in this book, and perhaps on pondering the results will see a relationship there with the many more apt scientific formulas that exists, or perhaps inspire a new science formula that describes reality. If there is found a cross-over from music theory/number cycles to science, then the book will have been a worthwhile venture.
********************************************
Constructive critcism always invited. Trollish scoffing always opposed.
On the comment that you hear insults form me, that is true. I've yet to match the volume of insults that somehow go unnoticed at this place, and have been "unnoticed" for at least two years.
TobyNotToby
31st May 2009 - 01:18 AM
QUOTE (Grumpy+May 30 2009, 11:57 PM)
Lui
All we really care about is seeing your lying arse kicked to the curb once more, hopefully for good this time.
Grumpy
I see you as a corrupt mind Grumpy. You would be the first to complain if someone that didn't know anything about a particular subject started speiling on about it as if they knew. Heck, that's what most of the arguments here seem to be about, "you know-nothing so and so" etc.
I think you should permanently retire as you are obviously past your best, and are now doing no more than expressing grumpy old man sentiments to people with innovative minds and the desire to keep the process of discovery alive. You don't think a ban from a forum is going to put that kind of light out do you?
But yes, you obviously desire peace and quite (and a nice warm mug of cocoa by the bedside). Over to you moderator. It's been tremendously educational.
RobDegraves
31st May 2009 - 01:47 AM
Hmmmm....
So far as I can tell then, your theory is that music is likened to numbers and formula and this is applicable to science.
Isn't that putting the cart before the horse?
1. Do you have actual math that applies to any physical process in a way that is not achieved otherwise?
2. Do you have any actual math to show that your theory applies to warp travel?
I don't have any desire to dispute your musical theory... I just wonder why you take the enormous leap from music to warp travel.
It sounds, on the face of it... well... silly.
TobyNotToby
31st May 2009 - 01:53 AM
QUOTE (RobDegraves+May 31 2009, 01:47 AM)
Hmmmm....
So far as I can tell then, your theory is that music is likened to numbers and formula and this is applicable to science.
Isn't that putting the cart before the horse?
1. Do you have actual math that applies to any physical process in a way that is not achieved otherwise?
2. Do you have any actual math to show that your theory applies to warp travel?
I don't have any desire to dispute your musical theory... I just wonder why you take the enormous leap from music to warp travel.
It sounds, on the face of it... well... silly.
Once it is seen that information, based on frequency relationships does swap mirror sides at a consistently occurring axis point, why is it silly to attempt this same phenomena in a laboratry , with a real life Mode box , for example? How else is information teleported, if not by some knowledge of frequency? If there is an unused and verifiable mirror structure, why can't one learn to use it?
Also, I'm very specific about the idea that this phenomena doesn't apply to music making, but is a process that can be seen to occur in music cycles, according to position either side of two axis points. So what is found to occur in these cycles can be elevated to ranges far outside the audible, by using the law of octaves.
Music cycles are only one element relating to the appearance of this same mirror structure. Because it is so consistent is the reason that I became interested in studying it further.
MjolnirPants
31st May 2009 - 03:10 AM
QUOTE (TobyNotToby+May 30 2009, 08:08 PM)
There is much speculation about creating warp speeds in order to travel through space.
"Warp speeds?"
That's f*cking awesome!
Ok, here's the constructive criticism: Nothing can travel faster than the speed of light in a vacuum. "Warp speeds" is a concept from Star Trek, not one stemming from actual science.
However, there is a real theoretical construct often called a 'warp drive', although this does not produce speeds in excess of c. (c is the speed of light in a vacuum.) This is more properly known as an Alcubierre metric, after the man who first proposed it, physicist Miguel Alcubierre. This is theoretically produced by contracting the space in front of an object and expanding the space behind it. It has the effect of allowing a ship to travel a greater 'distance' in a given period of time than light could in 'flat' space. There is no local motion faster than c, however.
http://en.wikipedia.org/wiki/Alcubierre_driveWhile the Alcubierre metric isn't the only form of non-local FTL that might theoretically exist someday, it is the most popular. Another method which is similar in that it involves distortions of space-time, requires string theory to be accurate, and works using the same principles as the FTL expansion of the universe in the inflation period.
What this has to do with music and tonal inversion however, is entirely within your head.
If you want to know something about mainstream interest in advanced propulsion, including FTL ideas, read the the site below, which sheds light on the now defunct Breakthrough Propulsion Physics program, sponsored by NASA at Glenn Research Center.
Warp Drive, When?
TobyNotToby
31st May 2009 - 01:13 PM
QUOTE (MjolnirPants+May 31 2009, 03:10 AM)
"Warp speeds?"
That's f*cking awesome!
Ok, here's the constructive criticism: Nothing can travel faster than the speed of light in a vacuum. "Warp speeds" is a concept from Star Trek, not one stemming from actual science.
However, there is a real theoretical construct often called a 'warp drive', although this does not produce speeds in excess of c. (c is the speed of light in a vacuum.) This is more properly known as an Alcubierre metric, after the man who first proposed it, physicist Miguel Alcubierre. This is theoretically produced by contracting the space in front of an object and expanding the space behind it. It has the effect of allowing a ship to travel a greater 'distance' in a given period of time than light could in 'flat' space. There is no local motion faster than c, however.
http://en.wikipedia.org/wiki/Alcubierre_driveWhile the Alcubierre metric isn't the only form of non-local FTL that might theoretically exist someday, it is the most popular. Another method which is similar in that it involves distortions of space-time, requires string theory to be accurate, and works using the same principles as the FTL expansion of the universe in the inflation period.
What this has to do with music and tonal inversion however, is entirely within your head.
If you want to know something about mainstream interest in advanced propulsion, including FTL ideas, read the the site below, which sheds light on the now defunct Breakthrough Propulsion Physics program, sponsored by NASA at Glenn Research Center.
Warp Drive, When?
Actually mate, you come across as a typical individual not to share anything new with. You will grasp at whatever you came out of college learning. And also you keep trying to pin it down to "music", when I've made it clear it is to do with a particular strucure that may be utilized for various purposes. if you have not made it to the point where you can see that, then what constructive comments are you attempting to make?
Once I do make a scientist with a musical background aware of this structure, then I think we'll be talking to the right people who I hope will appreciate the experiments I have in mind in order to test the data and the likelihood of the structure doing exactly what it is seen to be doing in the grids involved.
What I meant by the comment you have highlighted is that information is seen to swap mirror sides continually at one specific axis point (4.5). If we can find a way to copy this kind of process using the structural mirror relationships established (that will work in any octave range), we may in fact bypass the need for having to create actual speed as such, and use a different principle based on universes relating to each other in mirror pairs, and to use the relationships based on various frequencies in order to manifest at another point on the mirror side, and back through the same axis on that side to manifest back to this side. But the dual manifestations should be like a zig zag effect, meaning we will appear at a different point in this universe. As I can advise on the proper set-up, a device needn't look like a bunch a big resonators, but can actually look like a small laser set up, contained in a small area.
So it has little to do with music. And it is only one idea.
buttershug
31st May 2009 - 01:49 PM
QUOTE (TobyNotToby+May 31 2009, 01:13 PM)
What I meant by the comment you have highlighted is that information is seen to swap mirror sides continually at one specific axis point (4.5).
Does that hold true for East Indian music as well?
occidental
31st May 2009 - 02:10 PM
QUOTE (MjolnirPants+May 31 2009, 03:10 AM)
TobyNotToby
31st May 2009 - 02:16 PM
QUOTE (buttershug+May 31 2009, 01:49 PM)
Does that hold true for East Indian music as well?
If you mean the actual scales involved, then yes, the same structure is apparent.
In fact some quarter tones are quite relevant when it comes to configuring these devices..
gmilam
31st May 2009 - 03:01 PM
QUOTE (TobyNotToby+May 30 2009, 06:29 PM)
Sure gmilam, which makes it ok for your bud Mpants to tell absolute lies when he feels like it? Is that your idea of getting on? You being a musician , I find dissappointing that you couldn't correct him. Because we all know what happened after he pulled that little deceitful stroke.
Sorry, I lost interest in y'all's discussion. I ignore the pedantic bullshit in favor of more substantial discussion elsewhere. (I also tend to tune out most people's he said/she said crap.)
Don't recall who posted what... but for the record the wikipedia definition of the melodic minor that MP posted somwehere around here has been my understanding of the scale for years. Raised 6 and 7 ascending/natural descending.
Now can YOU let it go and move on to something more substantial.
TobyNotToby
31st May 2009 - 04:34 PM
QUOTE (gmilam+May 31 2009, 03:01 PM)
Sorry, I lost interest in y'all's discussion. I ignore the pedantic bullshit in favor of more substantial discussion elsewhere. (I also tend to tune out most people's he said/she said crap.)
Don't recall who posted what... but for the record the wikipedia definition of the melodic minor that MP posted somwehere around here has been my understanding of the scale for years. Raised 6 and 7 ascending/natural descending.
Now can YOU let it go and move on to something more substantial.
No worries I will let it go. The only reason it became a "big deal" is because of this so called "I'm hard on cranks because they give wrong info to people". And you just confirmed there that his initial post was the formula for Harmonic Minor, as I told him, and he denied, and a big useless row broke out because of it.
So MP, you're a crank on that one. Have the decency to admit it and move on .
And as for the idiots that backed you up, Ya should feel ashamed dipsticks.:-))
RobDegraves
31st May 2009 - 05:04 PM
TobynotToby
Seriously, your postulate about musical math being applicable to warp drive is .. well.. how shall I phrase this ... ridiculous... at best.
Do you have any actual reason to believe that the math you made up based on musical scales has any application to the real world in any way?
Also...
QUOTE
Once I do make a scientist with a musical background aware of this structure, then I think we'll be talking to the right people who I hope will appreciate the experiments I have in mind in order to test the data and the likelihood of the structure doing exactly what it is seen to be doing in the grids involved.
What experiments?
Lastly... seriously your argument with Mjolnirpants is ludicrous and little above the level of a two year old. I have no idea what you are talking about harmony wise, but your tone is one of petulance and obfuscation. Any reason for that?
nopEda
31st May 2009 - 05:27 PM
QUOTE (pnelson419+May 27 2009, 02:57 AM)
No, what me and others are doing is showing you the standard definition and that yours does not match.
You cannot understand that definitions do not change just because you don't like them.
Which definition do you think is correct, and why?
nopEda
31st May 2009 - 05:40 PM
QUOTE (buttershug+May 27 2009, 12:52 AM)
QUOTE (nopEda+)
What I'm suggesting is a realistic possibility, and though you quite obviously want to consider something else you can suggest no other alternative.
Why is your proposal any more realistic than the real definition of God?
There are more than one, so which one do you consider to be "real" and why do you think everyone should accept the one you like best?
One reason that what I suggest is more realistic than some, is that I take into consideration the fact God would almost certainly have to be a technologically advanced alien.
QUOTE (buttershug+)
and why is God does not exist not a realistic possibility?
It is. Let's think it through in detail:
God might not exist.
There, done with that.
Then again he might exist, and if so he almost certainly would have to be an alien who is
VERY much more advanced than any humans on this planet.
nopEda
31st May 2009 - 05:43 PM
QUOTE (pnelson419+May 27 2009, 07:18 AM)
nopEda,
I am curious.
If all you want is to think realistically then why the interest in aliens?
If God exists it's pretty unlikely he could be a native of Eath, so....
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