Questions about Neptune’s Atmosphere

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2021.11.27 10:44 CFAinvestor Questions about Neptune’s Atmosphere

I have some answers about Neptune that I can’t find precise answers to.

  1. How far can you descend into Neptune before the pressure would be too great for a human or ship to survive? If I’m not mistaken, it has a point (but how far into the planet?) where the pressure equals that of sea-level on Earth.
  2. I understand Neptune has violent winds. Do clouds get “whipped” around because of it or are they still? Basically, if you looked out of a window at the clouds, would they appear still or slow-moving? Or are they being thrown around and moving fast? It’s a bit difficult to word this question.
  3. Does precipitation only occur at or near the mantle? If you descended 30-40 Miles into Neptune, you would not see any kind of precipitation? Just high winds and extreme cold?
  4. I know Neptune receives minimal sunlight due to how far away it is. What time of day here on Earth would be an accurate comparison? Around sunrise? I’m assuming this means that, throughout most of the day on Neptune, it’s pitch-black dark?
  5. Are there places on Neptune with much friendlier (lower) wind speeds? Where the weather is much calmer?
I’m attempting to set the scene for a fictional story and Neptune will be a destination. Please don’t laugh. Lol.
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2021.11.27 10:44 choerry_bomb DANG the Orchestral Suites are fantastic

Time for yet another impulsive rant/gush about Bach because I love his music!!! I previously wrote a rant about the incredible Violin Sonata No. 3 in C major because I couldn't help it. I now can't help write my appreciation of the Orchestral Suites, four masterpieces.
I feel like the Overture movements of 1066-1069 get enough credit. We hear about the Badinerie from No. 2, the Air from No. 3, the Rejouissance from No. 4 sometimes, and practically zilch about No. 1 at all.
Following the score videos and really actively analyzing the counterpoint has been one of my most rewarding and overwhelming experiences. These pieces are definitely ones you have to maintain 100% focus to interpret accurately or you will get lost in their development. They are not meant to be background music, or literally any of Bach for that matter. They can also sound like a random jumble of musical noise to people who don't know how to listen to counterpoint.
I think I could write paragraphs upon paragraphs describing the compositional genius of each of the overtures, but I won't. The fugal sections contain seemingly infinite counterpoints and structural forms, displaying Bach's uncanny ability to write large sections that nearly verbatim repeat previous material and coherently and perfectly expand upon preceding material and maintain harmonic integrity
The first example of this compositional technique that really opened my eyes to Bach's genius was in the fugue (can it be called a fugue?) of Overture in the French Style (831). In the Orchestral Suites, each successive measure of the fugues only build on the pieces' development, and a satisfying and transcendental climax is reached at the end of each fugue. My first time listening to the OSs I started with No. 1 and the arrival of the overture recap section sent chills down my back. The fugal section was also so beautifully composed I actually wanted to cry - it is the only other time I have genuinely come close to crying listening to music, the other piece being the Chaconne.
It's extremely helpful to have score-videos to follow since there are so many voices in each of the OSs, and recordings often alter the original rhythms and add or omit trills. I have to stress how important - and how involved - it is to analyze everything that has passed, everything that happens at the moment, and to think of what could possibly come next all at the same time when watching/listening to the overtures, because they are large-ish ternary pieces; you inhale in the beginning and exhale at the end with rarely any break. The first dotted section and the recap of this form often have similar motivic material, and you have to think about how the recap answers the preceding exposition+fugue and comes to a strongly justified resolution. Throughout the piece, I would insist that it's important never to feel like the music ever stops moving or to ever think of it as phrases/sections. Of course, you could define clear sections within the fugues where the bass line stops and picks up again, but you must maintain an idealistic mindset to hear how every successive note expands upon the last. One last tip I have, for the first time listening to these complex gems, is to mainly listen to the top and bottom voices, except in sections where a single voice has a melodic line and successive voices enter one after another; then listen to how each interacts. But for every movement of the suites, focusing mainly on the top and bottom voices is a completely valid way of absorbing the compositional structures.
The Overture of OS No. 1 in C major for me was the most difficult to understand, but it slaps the hardest contrapuntally and harmonically. It could've been written 100 years in the future. The following movements, as with most of Bach's suites, employ the musical language of the first movement in several smaller dances of different styles with varying meters and tempi filled with imagination and charm. I almost wished that this suite ended with a gigue or another unique type of finale like the other three, but I actually find its sequence very coherent and satisfying. I feel that a faster last movement would make the suite feel somewhat uneven/awkward.
OS No. 2 in B minor is the most popular and, in my opinion, the most charismatic. I love the overture and fugue motifs and the overall elegant, dark character of the suite. The end of the fugue never fails to give me chills. I love the jubilant Badinerie, but the Polonaise/Double is my favorite, it's really a gorgeous ternary orchestral piece on its own. The Rondeau is one of the most clever dance movements I've ever heard. The Bourrée 1 and 2 are addicting. It's worth noting that this suite is the only one whose overture recap is in a different meter, being in triple meter, while the exposition of all the overtures is in quadruple meter. Rest in peace to the lips and lungs of the flutists who play this suite. I sometimes complain about there being only one flute partita, but then I remember this piece.
OS No. 3 in D major, what an inspired suite. The overture, in my opinion, is the most well-composed, with only two large and very similar sections in the fugue that flow so seamlessly. I fell in love with the Air upon the first time hearing it as a child. Hearing it in the context of this suite has actually given it so much more depth! An upbeat and brilliantly written pair of Gavottes follows the serene Air. A brief Bourrée precedes the dignified Gigue finale, which sounds to me like gratitude to God.
OS No. 4 in D major's overture is exceptional in its sparing motivic material, and unlike the others, I've found I can pretty easily follow this one while doing something like unloading the dishwasher due to its more contrapuntally explicit nature. The Rejouissance is one of the most thrilling movements in all the suites. This suite curiously doesn't have a slow movement, and neither does No. 1, I just realized.
Recordings bot do your thing! BWV 1066, BWV 1067, BWV 1068, BWV 1069
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