![]() ![]() ![]() That, and I (with the help of my brothers) had setup NGINX probably five years ago now, and though I still feel like I’m hacking stuff together, back then, it really was quite hacky, so who knows how much bad config was in my NGINX conf file. And, the prospect of having sane preconfigured behaviors was quite nice, since now with two daughters, I have less and less time to tinker with things like this. But with the recent addition of a Cloudflare proxy and stuff, I didn’t want to have to deal with certbot and manually dealing with a DNS challenge. NGINX was doing just fine, fast, and stable. I recently decided to try Caddy v2 for my personal home server, and had such a good and easy time with it that I decided to migrate my website server to Caddy from NGINX. ![]() Pachelbel’s CanonĮDIT: I had a misconfiguration that bit me in the ass recently (along with blindly updating Go to 1.17). I’ve put a short snippet below of just random II – V – I motions (and… uh some that aren’t because I got lost), and it sounds completely fine even though I’m jumping to so many different chords. The useful thing is that you can II – V – I your way onto practically any chord (I haven’t transcribed it or seen a score, but to me that is how Giant Steps works). Importantly, it can also be a Neapolitan or an augmented 6th chord, which you can actually think of as chromatic versions of stacked thirds on top of the ii chord. We feel the V – I strongly, but that pre-dominant chord has a lot of harmonic possibilities – A pre-dominant chord can be a ii, IV, V/V it can be a minor, a major, a minor 7th, a major 7th, a diminished 7th, a half-diminished 7th, and on and on as you stack more 3rds. I think it’s hard to overstate how important a pre-dominant/dominant/tonic motion is, even if it’s on a secondary key. Keep in mind, I didn’t necessarily consciously take this path to arrive at the progression, but in writing this out, I’m trying to articulate what perhaps goes on subliminally in the ear or fingers. I wanted to explore from my own viewpoint, unadulterated by formal jazz studies, why this progression works, how we can get there from a “classical” idiom, and maybe even some experiments with even weirder extensions. And we all know a classical pianist’s dream is to sound jazzy. As you might know, I have two kids now, so much of my musical life revolves around nursery tunes and unfortunate earworms from shows like Daniel Tiger and other viral videos like Baby Shark, although I’d like to give a shout out to Bluey for great music that often incorporates or references classical pieces.Īs I was noodling around with “Twinkle twinkle,” I discovered a cool chromatic sequence you can put under the final twinkle statement that conveniently is easy to play on the guitar (just slide down in one barred position), but also sounds pretty cool and jazzy. ![]()
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