Has there been any composer who wrote a bad fifth symphony? I can’t think of any. In 1901, Mahler had to be briefly hospitalized for intestinal problems [nothing serious], and as a get well present one of his friends got him the score of a new edition of Bach’s cantatas. Looking through Bach’s scores, Mahler was enthralled by the master’s ability to thread melodies together. The counterpoint was so impressive and influential, he gained a new interesest in writing absolute music, instead of writing programatic symphonies with extra-musical ideas. His next three symphonies would be purely instrumental, save the programatic title of the seventh [but even then, the seventh only holds an evocative title and nothing more]. The fifth is in three parts, and opens with a horn call, the “Fate” pattern of Beethoven’s fifth, a nod to that composer, but at the same time a nod to his previous symphony [the same passage in the same key can be heard a little more than half way through the first movement of the fourth], and we are thrown into a dark and deep funeral march, contrasting between a languid pace and a dramatic wind flourish. The middle section throws us into a storm with a bouncy rhythm, and near the end of the music, everything trails off beyond the horizon. The next movement is another stormy scherzo, that tosses around a bit and holds up the weight of the first “part”. In the second half of the scherzo, a new theme is introduced, a heroic one, light coming out of the darkness, that builds up and up before falling away in a let down, and slipping back into the roughness of the scherzo’s main theme. This heroic theme is alluding to the eventual heroic climax of the entire piece. The second part is the third movement, another scherzo, but instead of darkness, there is sunshine. It sounds like music from mountain climbers, a waltz or ländler. The cheeriness is paired with a bit of a sinister fugato that cuts into the mountain song every now and then. The middle of the movement tones down to an incredible passage on plucked strings. The clashing of Austrian countryside folk music and the upper-middle class Viennese waltz soon cumulates in a gargantuan orchestral explosion that transcends human allusions and nature. It is like standing at the top of a mountain, being overwhelmed by the sun. Before we know it, the music falls back to the charming dances before its happy coda. The third part opens with the fourth movement, the Adagietto that is probably Mahler’s most popular piece, one that is often put in compilation discs of “dinner music” or “classical love” CDs. From listening to it, it’s easy to tell why. The melodies are so beautiful, and the simplified orchestration, strings and harp, create such a passionate work, it’s almost like a poem. Of love, of regret, nostalgia, emotions that are hard to explain that may sometimes scare us. It’s claimed that Mahler wrote it as a love letter to his soon-to-be wife, Alma Schindler, though I don’t know much about the validity of that story. No matter what, it is definitely one of the more gorgeous things Mahler wrote. The last movement opens up quietly, playing around with the key of D, before going into a beautiful pastoral melody. It is then paired with a very complex fugal section, and after a bit of development, the main melody of the Adagietto comes back, this time with added voicing and counterpoint. The music builds up into a fake climax, dies down, and then speeds into the coda, which uses the “heroic” melody from the end of the second movement, and this time pulls through with its promise of grandeur, and sends us into an orchestral climax that feels beyond this earth. Is that getting too much? I really love this symphony, ok? And it’s hard to describe how the music makes me feel when my feelings are over the top. Listen for yourself, see how the music transports you! As Herbert von Karajan said, while listening to the fifth, "you forget that time has passed. A great performance of the Fifth is a transforming experience. The fantastic finale almost forces you to hold your breath.“
We know the project is coming on Friday the 13th. Everyone assumed a horror video correct?
We need any and all info related to Friday the 13th and any close knit horror stories.
Before was speculation: now we’re getting hints, like in Jigsaw or something”
@hawkeye221b it could be related to Friday the 13th, I don’t think it’s a coincidence that he chose that date. if anyone knows anything about Friday the 13th, like any stories, then send me an ask about it.
“it could also spell “he lier”, using the e two times, i’m not sure if that is possible in anagrams?”
@sarameyalli I was also think that. some of the letters do spell “lie”
“Everyones wondering why Mark’s Instagram post says 5 has no one realized today is the fifth? What if we’re gonna get a hint every day until the 13th”
@monochromemedic I noticed that aw well, that could very well be it. I don’t think we have all the puzzle pieces just yet.
we need to be patient, we don’t have all the pieces et. until then, I will be here in the Theorist Bunker. (who wants me to make that an actual blog kind of like @theoristsden?)
D&D 3.5 rules from Complete Adventurer (p.101), partially reprinted later in Rules Compendium (p.92).
You can blend into a crowd, slip between areas of cover or concealment to maintain secrecy, sneak up on a foe, or tail a target.
Blend into a Crowd
You can use the Hide skill to blend into a crowd, but doing so conceals you only from someone scanning the area to find you. You remain visible to everyone around you, and if they happen to be hostile they’re likely to point you out.
Move between Cover
If you’re already hiding (thanks to cover or concealment) and you have at least 5 ranks in Hide, you can make a Hide check (with a penalty) to try to move across an area that does not offer cover or concealment without revealing yourself. For every 5 ranks in Hide you possess, you can move up to 5 feet between one hiding place and another. For every 5 feet of open space you must cross between hiding places, you take a –5 penalty on your Hide check. If you move at more than one-half your speed, you also take the normal penalty on Hide checks when moving quickly (–10 for moving faster than normal speed, or –5 for moving between half speed and normal speed).
You can also use this option to sneak up on someone from a hiding place. For every 5 feet of open space between you and the target, you take a –5 penalty on your Hide check. If your Hide check succeeds, your target doesn’t notice you until you attack or make some other attention-grabbing action. Such a target is treated as being flat-footed with respect to you.
For example, Lidda the 2nd-level rogue could attempt to dash across a 5-foot-wide doorway without revealing her presence to the orcs inside. Even though the open doorway provides no cover or concealment, she can attempt a Hide check as normal, opposed by the orcs’ Spot checks. She takes a –5 penalty on her check because of the distance involved. If she moved at more than half her speed, she would take an additional –5 or –10 penalty on the check depending on how fast she moved (see above).
You can try to follow someone while remaining unseen. If you stay at least 60 feet away from your quarry, you must succeed on a Hide check (opposed by your quarry’s Spot check) once every 10 minutes. At a distance of less than 60 feet, you must make a Hide check each round. Extraordinary actions on your part (such as spellcasting or attacking) may disrupt this attempt even if you do not fail a check.
Tailing someone still requires cover or concealment, as normal for attempting a Hide check. A moderately crowded street provides sufficient cover and concealment to accomplish this goal. Alternatively, you can duck between areas of cover or concealment, as described in Move between Cover (see above).
Even if you fail a Hide check while tailing someone or you are spotted while moving too great a distance between hiding places, you can attempt a Bluff check opposed by your quarry’s Sense Motive check to look innocuous. Success means your quarry sees you but doesn’t realize you’re tailing him; failure alerts him that you’re actually following. A modifier may apply to the Sense Motive check, depending on how suspicious your quarry is. The table below provides Sense Motive modifiers for particular situations.
Sense Motive Your Quarry is sure nobody is following –> Sense Motive DC –5 Has no reason to suspect anybody is following –> DC +0 Is worried about being followed –> DC +10 Is worried about being followed and knows you’re an enemy –> DC +20