Yellowcard, The Gaslight Anthem, Streetlight Manifesto, More To Play Four Chord Music Festival 9
@4chordmusicfest's ninth year includes @Yellowcard, @LookOutLoretta_, @americfootball, @KeepFlyingBand and @facetofacemusic!
Ready for some fun this summer in Pittsburgh?
Pittsburgh’s beloved annual punk rock festival Four Chord is back for its ninth year. The two-day, 100% DIY festival features a stacked roster, with reunited pop-punk act Yellowcard (performing Ocean Avenue in full) and emo band Taking Back Sunday headlining Saturday, August 12, and reunited heartland punk rockers The Gaslight Anthem headlining…
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House Parties will be playing Four Chord Music Festival in Pittsburgh, PA this June! Limited Early Bird on sale now, tickets on sale Friday.
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I'm just a rando on the internet whose opinion doesn't really matter, but I have to say, I absolutely hate these types of videos
I did actually watch the video* (it seemed to mostly be an advertisement for a book, but ignoring that), it's premise was: "these songs contain all the notes in a certain key but don't really play the tonic chord of said key, which means it never visits the tonic chord!" which I find utterly maddening.
This is such a common trend among music theorists analyzing modern pop music ("modern" in this case meaning pretty much everything released in the last five decades that's not jazz). So many of them are willing to ignore how a song sounds and treats the harmonies and melodies inside it if it means they can analyze it inside this strict, 14th century western framework**. And, if the 14th century doesn't work, they just jump up one.
"Okay, okay, so the 14th century framework didn't work... what about the 15th? That didn't either? Whew. Well, guess we're pulling out all the stops today: 16th century, here we go."
The problem isn't the specific century's framework you're using, the problem is that you refuse to interact with this music on it's own terms. (The most frustrating part is that this isn't impossible! I know that there are music theorist who do interact with this music on it's own terms, and I find their work fascinating because it at least attempts to explain what's actually happening here.) Stop focusing on the collection of notes the music uses so much and start focusing on the how and why's!***
*You should also give it a watch. Since I disagreed with the basic premise, I might be being a tad uncharitable here.
**They also do mention modes in the final, like, 30 seconds of the video before rehashing the advertisement. But, even then, that is only a slightly more satisfactory answer for why these songs work they way they do.
***It's also possible to exist in two keys at once, which is something that a lot of pop music does that many theorists just... ignore. Purposefully obfuscating the tonic of a song is seriously a staple of so many genres of "modern" pop music. This is an aside, but I did want to mention another possible reason.
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I know the people who write inaccurate tabs mean well, but when everyone makes covers of songs with completely wrong chords, I die a little inside
I wanted to listen to Rocket Ships, but instead I end up with my ears crying :/
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What is your favorite song?
oh my god.
uh.
at the moment, my favourites are the grudge by olivia rodrigo, grace by henrik, angels fly by louis tomlinson, and how many things by sabrina carpenter
my all-time favourites are tornado warnings by sabrina carpenter, crisis by joshua bassett, dorothea by taylor swift, fire away by niall horan, why dont we go there by 1d, all i want by liam payne, city of churches by alexander black, and what do i know by ed sheeran :)
thank you for the ask, lovely anon. i love random questions like these xx.
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