oh yeah that should be fine

1 files changed, 1 insertions, 1 deletions

diff --git a/album/homestuck-vol-9.yaml b/album/homestuck-vol-9.yaml
index 4ef2ba39..0ab72882 100644
--- a/album/homestuck-vol-9.yaml
+++ b/album/homestuck-vol-9.yaml
@@ -651,7 +651,7 @@ Commentary: |-
     - <p>Both pieces are in 5/4 (5 beats per measure, try counting to 5 over and over on the beat) and use the SAME syncopation (syncopation = the division of notes into smaller off-beat rhythms within the measure) throughout the track. Actually, many many many pieces in 5/4 use this syncopation. See: [Hollow Bastion](https://www.youtube.com/watch?v=4nlCNVewMjA). Why do composers keep doing this? Two reasons: One, because it sounds awesome. Second, because the main way to compose in odd time signatures like 5/4 or 13/4** is actually to cut things into smaller units of 3, 2, or 4. Though each measure is comprised of 5 total beats, each measure in these songs is cut into 10 notes of half the length going 123-123-12-12. 3! 3! 2! 2!</p> <p>Wow, that was a very poor explanation. But please go to that Hollow Bastion video I linked and count "one-two-three-one-two-three-one-two-one-two" very quickly along with each note the harp plays. You'll get it. (And I'm just making things more confusing, but isn't it awesome how the syncopation switches at the end of the  4-measure phrase to "1234 12 12 12?" The little bit of contrast makes it feel complete.)</p> <p>So, why don't people just cut things up differently? like 3 2 2 3? it's definitely possible! Here's my theory about why people favor the syncopation they do: It seems like ending a measure with a shorter note ON the beat leads into the next measure more naturally. It even sounds like a leadin: dun-DUN! This is supported by the fact that one of the most popular syncopations in existence is the one in 4/4 that goes 3 3 2. This is probably the same principle.</p> <p>3 3 2: ON OFF ON<br>3 3 2 2: ON OFF ON ON</p>
     - <p>Besides the fact that the syncopation is identical, the chords and melody are similar and the way the strings are used are basically the same. I have no explanation for this other than... great minds think alike???</p> <p>RANDOM FUN FACT: [[Awakening]] is also in 5/4, go to 1:40 and sing the melody to Stress. Hell, [[media:misc/stresscombo.mp3|I'll do it for you.]] It fits!!! The main melody of awakening also starts with a similar rhythm as Stress. it's the curse of the 123 123 12 12's.</p>
     Wow, I really got off track here. But I hope you learned something today.
-    * Yes, [[artist:bill-bolin]] also started an [[track:stress-speed-mix|arrangement]] of this piece before he left the team. I think we were both attracted to the same "essence" present in Buzinkai's piece.
+    * Yes, [[artist:bill-bolin]] also started [[track:stress-speed-mix|an arrangement of this piece]] before he left the team. I think we were both attracted to the same "essence" present in Buzinkai's piece.
     ** Bonus challenge: See if you can count out how I divided the measures in this song! If you can do this, you can easily understand how to compose in time signatures like this. It's actually VERY simple and derived directly from the other breakdowns I did.
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 Track: Minihoof's Adventure