Note that a) it was a complete sentence and b) what Jacob said. It is also something that would be completely reasonable in spoken English.
On Thu, Sep 25, 2008 at 1:01 PM, theREAL <[EMAIL PROTECTED]> wrote: > It all depends on whether the sentence really IS a sentence (or a fragment). > Ask any of my former comp students. ;-) > > jeff > > Jacob Arnold wrote: >> >> http://www.getitwriteonline.com/archive/032601.htm >> >> "Most likely, many people believe they should not start a sentence with a >> coordinating conjunction because their grammar teachers in grade school >> discouraged them from doing so. Yet such a rule is completely >> unjustifiable." >> >> ;-) >> >> >> [EMAIL PROTECTED] wrote: >> >>> >>> You started a sentence with "Or"? >>> >>> ;-) >>> >>> MEK >>> >>> "kent williams" <[EMAIL PROTECTED]> wrote on 09/25/2008 10:24:46 AM: >>> >>> >>>> >>>> When I defended my Master's Project I promised myself never to go back >>>> to school. After nearly 30 years of schooling I realized that I'm a >>>> terrible student. Ironically my work now is in an Academic department >>>> of the College of Medicine. I work with and for professors and grad >>>> students. But I just write software -- I leave it to them to do the >>>> academics. Suckers! >>>> >>>> But every so often I have an idea that has academic potential, and >>>> when I think of following through on it I break out in a cold sweat. >>>> But no reason not to share it: >>>> Detroit Techno's signature sound is based in part on dramatic string >>>> or string-like chord patterns over a bed of beats not that far from >>>> classic Chicago House. Contrary to the norm in western music, the >>>> chords are likely to be 'parallel' -- i.e. a pattern of 4 chords will >>>> be one chord, transposed from the root 3 times. >>>> >>>> The traditional harmonic rules of Western music, by contrast are more >>>> parsimonious in tonal motion -- i.e. any two chords in sequence will >>>> most likely retain any common notes. The transition between two >>>> dissimilar chords will move from one chord to the inversion of the >>>> second chord with the least interval distance from the notes of the >>>> first. >>>> >>>> If you are not a musician, your eyes are probably rolling up in your >>>> head by now, so more concretely: The Detroit way if played on a piano >>>> would involve moving your whole hand, but using (roughly) the same >>>> spacing of your fingers. The traditional way would keep your hand >>>> mostly in the same place, but change the spacing between your fingers. >>>> >>>> My suspicion is that the 'Detroit' chords came at least in part from a >>>> feature of the Roland Alpha Juno synthesizer, which had a feature >>>> called 'chord memory' -- you could play a chord, push a button, and >>>> thereafter, you could play that same chord with one finger on the >>>> lowest note of the original chord. Or, you could play a transposed >>>> chord by playing a different single note. >>>> >>>> A perfect example of the meshing of these two approaches in one song >>>> is UR's 'Jupiter Jazz' -- there is the signature stacatto chords of >>>> the synthesizer -- with parallel chord transposition, and a denser >>>> female chorus sound that exhiibits the more traditional conservation >>>> of harmonic motion. That contrast and overlay of two different >>>> harmonic strategies is part of what makes that song so compelling. >>>> Well, that, and the bubbling acid line. And Mad Mike's soaring synth >>>> soloing... >>>> >>> >>> >> >> >> > >
