A relevant point (no FZ material)
Dan B.
study of French philosopher Albert Camus:
"One of the things that he had come to dislike the most about Parisian
intellectuals," Mr. Judt writes about Camus, "was their conviction that
they had something to say about everything, and that everything could be
reduced to the kind of thing they like to say."
"Beware the disposition of intellectuals to take words for things."
(Maybe we should substitute 'words' for 'notes' as well.)
Hmmm, sounds like some of the denizens in these parts.
Michael Gula
> All because I made a wisecrack about
> tabbing out a stupid little drum fill.
I saw a TV show about MIDI once where the guitarist was playing
drums on the guitar and the drummer was playing bass on his
drumheads.
So maybe it is possible to tab out a drum fill. Maybe you could
have a bunch of horizontal, dashed lines, but they represent
drumheads instead of strings. And the numbers can be used to
represent rhythms rather than fret positions--maybe 1 thru 8 for
dividing a measure into eight parts or some other scheme.
I'd say it's at least worth thinking about!
--
SIGNATURE FILE?! WHAT SIGNATURE FILE??
To reply remove MORESPAM from the address.
Dan B.
that it is 16 bars (so you could parcel it out in musical time-space distance), but it's obviously come across to you as "weird arithmetic".
I apoligize for my inability to make you understand that it's 16 bars.
(Again, another example of the limitations of written notation.)
Don't get so worked up over a discussion, Michael: it's just a fumbling around with syntax and semantics as we all try "to get into something real." I did think my rhythmic
analysis was quite clear and helpful as to how to determine the spatial length of a particular passage in question, though.
Michael Pierry wrote:
> In case you forgot, you started this shit. So according to you, the more
> knowledge one has of classical music, the less one knows about music? Or
> what? I didn't start off with this haughty know-it-all attitude. You
> basically told me I don't know anything about music, and so I decided to
> defend myself. To me, your Camus quote applies a hell of a lot more
> appropriately to yourself than either me or Lewis. For the record, here's
> your original post:
>
> > That was a damn fine question, Michael. For "Florentine Pogen" anyway, since you can kind > of get a 4/4 foot stomp going--which we know is often difficult
> >with FZ--just fine the pulse and start a'counting just before the break
> occurs. Think of it > this way:
> > 8/8 +
> > 8/8
> > = 16
> > This song does gravitate from a "Western traditional" 4/4 time signature to 5/4, and even > (at the entry of Frank's solo from the KCET '74 show, into 6/4. So
> > instead of me being boring, think of it as when jazz musicians trade '4's--get that feel-- > double that to 8/8 (4/4 + 4/4) and then equal that last staff distance that
> > we just calculated = 16. (Better for the drummer to just improvise)
>
> Everybody cast your vote for who you think is the better example of the type
> of person Camus was talking about. Please take into consideration the fact
> that being talked down into in this manner is very insulting to a musician,
> since one of the very first things we learn how to do is how to count
> measures.
>
> For those of you that can read music, does his post make much sense to you?
> Keep in mind that what he is talking about is just a simple four-bar drum
> break which occurs from 3:34 to 3:43 on the OSFA recording of "Florentine
> Pogen". All that weird arithmetic he's doing, I don't understand the point of
> any of it. Now he's spouting off in that thread about how much more he
> understands music and that me and Lewis somehow lack an understanding of
> "feel" or "groove" or "soul", even! All because I made a wisecrack about
> tabbing out a stupid little drum fill.
>
>
> --
> "Is that a wheel of cheese in your pocket or are you... um... some kind of
> lumpy person?" - Matt Baume
Dan B.
then was attacked for explaining certain limitations to musical notation. Notation
is the starting off point, there is much work to do after that to make something
into "music". There is no way that a piece of paper can accurately convey musical
accents fully, just as the thoughts behind the words typed on a keyboard can be
easily misconstrued. (see above)
ZappaLVR wrote:
> Mike, don't even bother. This guy has become extremely annoying to me, and
> he's not even insulting me directly. I don't know shit about music in a
> technical sense, I can't even play an instrument. I can sing pretty well,
> learning by ear, and I trust my ear to recognize both quality and "what I
> like." I don't need validation from a musical snob to continue to have
> opinions about music.
>
> Tab to me is a diet soft-drink popular in the Seventies. I'm not proud of my
> ignorance, but it doesn't stop me from loving many kinds of music. I'd say ALL
> kinds of music, but who the fuck are we kidding here.
>
> In article <36D228CD...@home.com>, Michael Pierry <still...@home.com>
> Zapp...@aol.com aka Chris Maxfield
> http://members.aol.com/zappalvr/ZAPPA.html
> Kill Ugly Sig Files! To e-mail, remove "honza" from my address!
Dan B.
you could write out 16 bars worth of drum notes (or of any instrument's
notes). The point was, I was trying to explain how to determine that the
drum break in "Florentine Pogen" was 16 bars. Once you understand the
length of the passage it is possible to either try to write join
corresponding note sequences or just improvise the section. In the case of
"Florentine Pogen" the drum fill was always improvised by the different
drummers in the various Zappa line-ups. I get off comparing and contrasting
the different drummers' approach to these 16 bars, but I'm
rhythmically-fixated (good or bad).
Michael Pierry wrote:
> Michael Gula wrote:
> >
> > Michael Pierry wrote:
> >
> > > All because I made a wisecrack about
> > > tabbing out a stupid little drum fill.
> >
> > I saw a TV show about MIDI once where the guitarist was playing
> > drums on the guitar and the drummer was playing bass on his
> > drumheads.
> >
> > So maybe it is possible to tab out a drum fill. Maybe you could
> > have a bunch of horizontal, dashed lines, but they represent
> > drumheads instead of strings. And the numbers can be used to
> > represent rhythms rather than fret positions--maybe 1 thru 8 for
> > dividing a measure into eight parts or some other scheme.
> >
> > I'd say it's at least worth thinking about!
>
> Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
> just plonked. So I won't be reading his posts here anymore, which I'm
> sure will be better for both of us.
Dan B.
Lewis Saul
>So maybe it is possible to tab out a drum fill.
I think the present system (as used by Vai & Co. in the Guitar Book) is
perfectly adequate for transcriber, drummer and musician/user alike...
My notation software (encore) will instantly convert MIDI data to this
format, as well...
LS
Sam and/or Karen Rouse
> As stated by Tony Judt, author of 'The Burden of Responsibility', a
> study of French philosopher Albert Camus:
> "One of the things that he had come to dislike the most about Parisian
> intellectuals," Mr. Judt writes about Camus, "was their conviction that
> they had something to say about everything, and that everything could be
> reduced to the kind of thing they like to say."
>
> "Beware the disposition of intellectuals to take words for things."
> (Maybe we should substitute 'words' for 'notes' as well.)
>
> Hmmm, sounds like some of the denizens in these parts.
...but Camus was followed by Kosinski who, apparently taking these words to
heart, fabricated an existence based on who he thought he should be and,
when it unraveled, took his own life.
I'm not entirely sure what this has to do with the discussion, but felt
like typing it.
-Sam
--
Sam and/or Karen Rouse ro...@teleport.com
FZ Concert Tales:
http://www.teleport.com/~rouse/fz/
Lewis Saul
>Well, Michael, since the long fill we're discussing here is 16 bars,
No, it is *****FOUR***** bars. Let's have a little poll here of the many
affz'ers with a bit of musical knowledge (you're welcome to count yourself
in that group, Dan...for the time being...)
SHE is on the *and* of THREE
WAS is on FOUR
THE is on the "and* of FOUR
DAUGH- from "daughter" is on ONE...
This sucka's in 4/4 time. At that tempo --
**There are four bars of drum fill.**
You're welcome to dream about 16 bars for the rest of your life, Mr. Deputy
Dan, but there are
FOUR bars of drum fill here. (that equals 16 *beats* btw)
Anyone care to back me up on this one?
oh yes, and lest you mistake the little "double-time" shuffle *just prior*
to the drum break as your supposed 8/8 or 4/4 at double the tempo -- that is
*not* how this would be notated...
at least you seem to have one thing straight in your brain -- notation is OF
COURSE not the end of the process -- no music can EVER result from the
simple existence of a piece of paper with black dots on it. Your stating
that as anything other than something which is totally obvious seems
irrelevant...
**
Actually, this is a terrific fill, and quite simple. Reminds one of another
highly unique FZ drum fill, from about 5 or 6 years previous to this...
LS
Michael Pierry
>
> As stated by Tony Judt, author of 'The Burden of Responsibility', a
> study of French philosopher Albert Camus:
> "One of the things that he had come to dislike the most about Parisian
> intellectuals," Mr. Judt writes about Camus, "was their conviction that
> they had something to say about everything, and that everything could be
> reduced to the kind of thing they like to say."
>
> "Beware the disposition of intellectuals to take words for things."
> (Maybe we should substitute 'words' for 'notes' as well.)
>
> Hmmm, sounds like some of the denizens in these parts.
In case you forgot, you started this shit. So according to you, the more
"feel" or "groove" or "soul", even! All because I made a wisecrack about
tabbing out a stupid little drum fill.
ZappaLVR
Mike, don't even bother. This guy has become extremely annoying to me, and
he's not even insulting me directly. I don't know shit about music in a
technical sense, I can't even play an instrument. I can sing pretty well,
learning by ear, and I trust my ear to recognize both quality and "what I
like." I don't need validation from a musical snob to continue to have
opinions about music.
Tab to me is a diet soft-drink popular in the Seventies. I'm not proud of my
ignorance, but it doesn't stop me from loving many kinds of music. I'd say ALL
kinds of music, but who the fuck are we kidding here.
In article <36D228CD...@home.com>, Michael Pierry <still...@home.com>
writes:
Zapp...@aol.com aka Chris Maxfield
Michael Pierry
Michael Gula wrote:
>
> Michael Pierry wrote:
>
> > All because I made a wisecrack about
> > tabbing out a stupid little drum fill.
>
> I saw a TV show about MIDI once where the guitarist was playing
> drums on the guitar and the drummer was playing bass on his
> drumheads.
>
> So maybe it is possible to tab out a drum fill. Maybe you could
> have a bunch of horizontal, dashed lines, but they represent
> drumheads instead of strings. And the numbers can be used to
> represent rhythms rather than fret positions--maybe 1 thru 8 for
> dividing a measure into eight parts or some other scheme.
>
> I'd say it's at least worth thinking about!
Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
just plonked. So I won't be reading his posts here anymore, which I'm
sure will be better for both of us.
Michael Gula
>
> Michael Gula wrote:
> >
> > Michael Pierry wrote:
> >
> > > All because I made a wisecrack about
> > > tabbing out a stupid little drum fill.
> >
> > I saw a TV show about MIDI once where the guitarist was playing
> > drums on the guitar and the drummer was playing bass on his
> > drumheads.
> >
> > So maybe it is possible to tab out a drum fill. Maybe you could
> > have a bunch of horizontal, dashed lines, but they represent
> > drumheads instead of strings. And the numbers can be used to
> > represent rhythms rather than fret positions--maybe 1 thru 8 for
> > dividing a measure into eight parts or some other scheme.
> >
> > I'd say it's at least worth thinking about!
>
> Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
> just plonked. So I won't be reading his posts here anymore, which I'm
> sure will be better for both of us.
I was just posting some silly shit hoping to make you laugh.
Michael Gula
>
> This was in response to Michael G.'s question--many Michaels about.
>
> Dan B. wrote:
>
> > you could write out 16 bars worth of drum notes (or of any instrument's
> > notes). The point was, I was trying to explain how to determine that the
> > drum break in "Florentine Pogen" was 16 bars. Once you understand the
> > length of the passage it is possible to either try to write join
> > corresponding note sequences or just improvise the section. In the case of
> > "Florentine Pogen" the drum fill was always improvised by the different
> > drummers in the various Zappa line-ups. I get off comparing and contrasting
> > the different drummers' approach to these 16 bars, but I'm
> > rhythmically-fixated (good or bad).
> >
> >
> > > Michael Gula wrote:
> > > >
> > > > Michael Pierry wrote:
> > > >
> > > > > All because I made a wisecrack about
> > > > > tabbing out a stupid little drum fill.
> > > >
> > > > I saw a TV show about MIDI once where the guitarist was playing
> > > > drums on the guitar and the drummer was playing bass on his
> > > > drumheads.
> > > >
> > > > So maybe it is possible to tab out a drum fill. Maybe you could
> > > > have a bunch of horizontal, dashed lines, but they represent
> > > > drumheads instead of strings. And the numbers can be used to
> > > > represent rhythms rather than fret positions--maybe 1 thru 8 for
> > > > dividing a measure into eight parts or some other scheme.
> > > >
> > > > I'd say it's at least worth thinking about!
> > >
> > > Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
> > > just plonked. So I won't be reading his posts here anymore, which I'm
> > > sure will be better for both of us.
I was just posting some silly shit in an attempt to derail the
whole stupid thread.
What would be the point of putting a drum transcription in a
guitar tab? What drummer would bother with crap like that?
Dan B.
implicitly understands where the '1' starts from and where the '16' ends. In
Michael Pierry's case this fill would be 12 measures short however, surely
earning a quizzical glance from FZ, if only this could happen.
Michael Gula wrote:
> Michael Pierry wrote:
> >
> > Michael Gula wrote:
> > >
> > > Michael Pierry wrote:
> > >
> > > > All because I made a wisecrack about
> > > > tabbing out a stupid little drum fill.
> > >
> > > I saw a TV show about MIDI once where the guitarist was playing
> > > drums on the guitar and the drummer was playing bass on his
> > > drumheads.
> > >
> > > So maybe it is possible to tab out a drum fill. Maybe you could
> > > have a bunch of horizontal, dashed lines, but they represent
> > > drumheads instead of strings. And the numbers can be used to
> > > represent rhythms rather than fret positions--maybe 1 thru 8 for
> > > dividing a measure into eight parts or some other scheme.
> > >
> > > I'd say it's at least worth thinking about!
> >
> > Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
> > just plonked. So I won't be reading his posts here anymore, which I'm
> > sure will be better for both of us.
>
> I was just posting some silly shit hoping to make you laugh.
Michael Pierry
>
Dan B. wrote this bit:
> >
> > > Well, Michael, since the long fill we're discussing here is 16 bars, then
This killfile stuff isn't gonna work if people keep replying to Dan's
posts! It's a four-measure drum fill, not 16. If it's 16 bars, I'll
sew my asshole shut and eat Taco Bell all night long!! If it's 16 bars,
I'll have sex with a dead monkey! If it's 16 bars, I'll funnel twelve
bottles of Jack Daniels and then gnaw my own limbs off! Oh who am I
kidding? I was gonna do all that shit anyway.
Michael Gula wrote this bit:
>
> What would be the point of putting a drum transcription in a
> guitar tab? What drummer would bother with crap like that?
Right, which is why I made the joke in the first place. Too bad there's
no emoticon for banging your head against the wall. ;)
Dan B.
removal. Zappa would have never used something as pedestrian as a 4-measure drum
break, that's way too easy, and too common a 'standard' jazz cliche. Damn, isn't it
obvious that that a break goes on much longer than 4 measures. You must be talking
a reeeaaalllly long 4 bars! (Try counting it with an eigth-note pulse.)
Michael Gula
>
> perfectly adequate for transcriber, drummer and musician/user alike...
>
> My notation software (encore) will instantly convert MIDI data to this
> format, as well...
>
them in ASCII.
ASCII NOT...what your Encore can do for you! ASCII what you can
do for your Encore!
(Drum crash!)
Michael Gula
>
> Enjoy your light snack, monkey sex, moderate drinking and self-induced limb
> removal. Zappa would have never used something as pedestrian as a 4-measure drum
> break, that's way too easy, and too common a 'standard' jazz cliche. Damn, isn't it
> obvious that that a break goes on much longer than 4 measures. You must be talking
> a reeeaaalllly long 4 bars! (Try counting it with an eigth-note pulse.)
Then how many measures is the descending diminished-chord thingy?
Michael Gula
> This killfile stuff isn't gonna work if people keep replying to Dan's
> posts! It's a four-measure drum fill, not 16. If it's 16 bars, I'll
> sew my asshole shut and eat Taco Bell all night long!!
Well, they're REAL SHORT measures. And they're ONLY short during
the drum solo.
Now, Where's that Taco Bell?
Michael Gula
> Zappa would have never used something as pedestrian as a 4-measure
> drum
> break,
Zappa was always doing pedestrian things. He didn't like to drive
a car.
Michael Gula
> FOUR bars of drum fill here. (that equals 16 *beats* btw)
>
> Anyone care to back me up on this one?
>
My God, Lewis! Let's look for some middle ground, shall we?
Now, I propose that during the drum solo we change the time
signature to 1/4. Then we can have sixteen measures. I mean,
Can't we just get along?
Lewis Saul
>Enjoy your light snack, monkey sex, moderate drinking and self-induced limb
drum
>break, that's way too easy, and too common a 'standard' jazz cliche. Damn,
isn't it
>obvious that that a break goes on much longer than 4 measures. You must be
talking
>a reeeaaalllly long 4 bars! (Try counting it with an eigth-note pulse.)
>
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
ha
Boil That
happens here, but (damn me) I can't help myself - YES, it is obviously,
unquestionably a four-bar drum break.
What you, Dan B., need to understand is that "A four-bar drum break" is not
necessarily a pedestrian, cliched undertaking. "Four bars" is NOTHING but a
blank pallette, a space in time for the musician to decorate. How the frig can
any amount of time be a "pedestrian" amount of time, and FAR more to the point,
how could that amount of time suddenly be magically LESS pedestrian just
because you found some completely arcane method of carving the exact same
four-bar amount of time into 16 "bars"? You do realize that the pulse of the
song is what indicates the feeling of time contained within it, correct? It is
a SLOW song.
"Four bars of music" does not a cliche guarantee. All that matters it what
happens in that span of time. The fact that it is a four-bar break (and that
is a fact, a musical fact) means absolutely nothing. It's the way the drummer
chooses to decorate it that matters.
Lurk mode back on.
Tal
>
>Anyone care to back me up on this one?
4
-Tal
Darkhop
>
> Dan B. wrote in message <36D23346...@erols.com>...
> >Well, Michael, since the long fill we're discussing here is 16 bars,
>
> affz'ers with a bit of musical knowledge (you're welcome to count yourself
> in that group, Dan...for the time being...)
>
> SHE is on the *and* of THREE
> WAS is on FOUR
> THE is on the "and* of FOUR
>
> DAUGH- from "daughter" is on ONE...
>
> This sucka's in 4/4 time. At that tempo --
>
> **There are four bars of drum fill.**
>
> You're welcome to dream about 16 bars for the rest of your life, Mr. Deputy
> Dan, but there are
>
>
Sure. Although I don't know what to say that'd make it any clearer. I'm
just surprised this thread isn't about the Black Page or something --
Florentine Pogen is rhythmically Junior High by comparison.
Yers,
John
http://www.darkhop.com/affz2.htm
Dan B.
The opening section of "Florentine Pogen" is in slow '4'. However, this song is comprised
of many different sections which have various tempi. In fact the song gradually speeds up
as it goes along. If you think that Frank's ending solo section (faded out on the album)
is in slow '4' that is incorrect.
A medium part of the song: Nappy's "Na, Na Na" section is obviously not at a 'slow'
tempo--it is actually medium to medium-fast.
Michael Gula wrote:
> "Dan B." wrote:
> >
> > Enjoy your light snack, monkey sex, moderate drinking and self-induced limb
> > removal. Zappa would have never used something as pedestrian as a 4-measure drum
> > break, that's way too easy, and too common a 'standard' jazz cliche. Damn, isn't it
> > obvious that that a break goes on much longer than 4 measures. You must be talking
> > a reeeaaalllly long 4 bars! (Try counting it with an eigth-note pulse.)
>
> Then how many measures is the descending diminished-chord thingy?
Dan B.
discussion.)
Lewis Saul wrote:
> Dan B. wrote in message <36D23F51...@erols.com>...
> >Enjoy your light snack, monkey sex, moderate drinking and self-induced limb
> >removal. Zappa would have never used something as pedestrian as a 4-measure
> drum
> >break, that's way too easy, and too common a 'standard' jazz cliche. Damn,
> isn't it
> >obvious that that a break goes on much longer than 4 measures. You must be
> talking
> >a reeeaaalllly long 4 bars! (Try counting it with an eigth-note pulse.)
> >
>
> HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
>
> ha
Dan B.
means more notes are played during that time duration; therefore your
argument that this is a slow is basically incorrect.
Michael Gula wrote:
> Michael Pierry wrote:
>
> > This killfile stuff isn't gonna work if people keep replying to Dan's
> > posts! It's a four-measure drum fill, not 16. If it's 16 bars, I'll
> > sew my asshole shut and eat Taco Bell all night long!!
>
> Well, they're REAL SHORT measures. And they're ONLY short during
> the drum solo.
>
> Now, Where's that Taco Bell?
Dan B.
you think this song remains like that throughout it's duration you are
incorrect.
Lewis Saul wrote:
> Dan B. wrote in message <36D23346...@erols.com>...
> >Well, Michael, since the long fill we're discussing here is 16 bars,
>
> No, it is *****FOUR***** bars. Let's have a little poll here of the many
> affz'ers with a bit of musical knowledge (you're welcome to count yourself
> in that group, Dan...for the time being...)
>
> SHE is on the *and* of THREE
> WAS is on FOUR
> THE is on the "and* of FOUR
>
> DAUGH- from "daughter" is on ONE...
>
> This sucka's in 4/4 time. At that tempo --
>
> **There are four bars of drum fill.**
>
> You're welcome to dream about 16 bars for the rest of your life, Mr. Deputy
> Dan, but there are
>
> FOUR bars of drum fill here. (that equals 16 *beats* btw)
>
> Anyone care to back me up on this one?
>
> oh yes, and lest you mistake the little "double-time" shuffle *just prior*
> to the drum break as your supposed 8/8 or 4/4 at double the tempo -- that is
> *not* how this would be notated...
>
> at least you seem to have one thing straight in your brain -- notation is OF
> COURSE not the end of the process -- no music can EVER result from the
> simple existence of a piece of paper with black dots on it. Your stating
> that as anything other than something which is totally obvious seems
> irrelevant...
>
> **
> Actually, this is a terrific fill, and quite simple. Reminds one of another
> highly unique FZ drum fill, from about 5 or 6 years previous to this...
>
> LS
>
> >you could write out 16 bars worth of drum notes (or of any instrument's
> >notes). The point was, I was trying to explain how to determine that the
> >drum break in "Florentine Pogen" was 16 bars. Once you understand the
> >length of the passage it is possible to either try to write join
> >corresponding note sequences or just improvise the section. In the case of
> >"Florentine Pogen" the drum fill was always improvised by the different
> >drummers in the various Zappa line-ups. I get off comparing and contrasting
> >the different drummers' approach to these 16 bars, but I'm
> >rhythmically-fixated (good or bad).
> >
> >Michael Pierry wrote:
> >
> >> Michael Gula wrote:
> >> >
> >> > Michael Pierry wrote:
> >> >
> >> > > All because I made a wisecrack about
> >> > > tabbing out a stupid little drum fill.
> >> >
> >> > I saw a TV show about MIDI once where the guitarist was playing
> >> > drums on the guitar and the drummer was playing bass on his
> >> > drumheads.
> >> >
> >> > So maybe it is possible to tab out a drum fill. Maybe you could
> >> > have a bunch of horizontal, dashed lines, but they represent
> >> > drumheads instead of strings. And the numbers can be used to
> >> > represent rhythms rather than fret positions--maybe 1 thru 8 for
> >> > dividing a measure into eight parts or some other scheme.
> >> >
> >> > I'd say it's at least worth thinking about!
> >>
> >> Well, sure. At least you make sense, unlike Dan "Feel" B., whom I've
> >> just plonked. So I won't be reading his posts here anymore, which I'm
> >> sure will be better for both of us.
Dan B.
unique sections, making it just as rhythmically challenging as "The Black Page"
which is at one tempo throughout but is much more highly accented. Both require
skill to perform correctly.
I am a percussionist--my original music is extremely complex time-signature wise.
Since you can't hear it, it doesn't make sense to discuss it. (But I will have a
review published soon in a music journal, as it is now being made available,
perhaps the nonbiased reviewer will mention the technically challenging aspects
of my music, rhythm-wise. All I can say in the interim is that it is music that
requires great dexterity to perform, and that is is innovative, unique and
"good".)
Darkhop wrote:
> Lewis Saul wrote:
> >
> > Dan B. wrote in message <36D23346...@erols.com>...
> > >Well, Michael, since the long fill we're discussing here is 16 bars,
> >
> > No, it is *****FOUR***** bars. Let's have a little poll here of the many
> > affz'ers with a bit of musical knowledge (you're welcome to count yourself
> > in that group, Dan...for the time being...)
> >
> > SHE is on the *and* of THREE
> > WAS is on FOUR
> > THE is on the "and* of FOUR
> >
> > DAUGH- from "daughter" is on ONE...
> >
> > This sucka's in 4/4 time. At that tempo --
> >
> > **There are four bars of drum fill.**
> >
> > You're welcome to dream about 16 bars for the rest of your life, Mr. Deputy
> > Dan, but there are
> >
> > FOUR bars of drum fill here. (that equals 16 *beats* btw)
> >
> > Anyone care to back me up on this one?
>
Dan B.
I respect your work, Mike K., I'd have to disagree with you. "Florentine Pogen" is
not a slow song: it starts out slowly, then progresses to a medium tempo (I would
even argue medium-fast in certain spots--certainly the drum break in question). I
will now attempt to write out a four-bar drum break in a fashion that
non-percussionists can understand:
1st bar 2nd bar 3rd bar 4th bar
One Two Three Four
| 1-e-and-a- | 2-e-and-a | 3-e-and-a | 4-e-and-a |
(that is a 4-bar drum break)
If you think the drum break we are discussing lasts that long in duration, I'm
sorry but that's incorrect. Try multiplying that by four measures.
Arcane and pedestrian have to do with the simplicity of performing a 4-bar
break--it is quite easy, and something that Zappa hardly ever wanted. Think of the
fills in "Advance Romance" or "Trouble Everyday" which is 8-bars, by the way.
(Also, I don't think I ever used the word "arcane" in this discussion.) Being a
drummer and trained percussionist (marimba, vibes, etc.) I appreciate your views on
drumming and the individuality that each drummer brings to "decoration".
Don't take offense to the following statement--though I know certain a.f.f.z.s who
"worship" you probably will--maybe you should utilize some more complex percussion
parts in your own music as well, at least some more difficult time-signature
applications. I have never been a fan of so-called "pop" music. Granted, the only
solo work of yours I have heard was the much-older 'Hat' which I can honestly say
did not move me or impress (the wrong word) me at all. Coming from the Zappa
heritage, I found it too simple--something that didn't offer anything unique, new
or innovative.
(Great Johnny Cash impression though!!!!!)
Dan B.
(But thank you anyway for your sycophantic post which added nothing to this
discussion.)
Manning Bartlett wrote:
> Boil That wrote:
>
> > I have been mostly lurking on AFFZ lately, because of all the stupid shit that
> > happens here, but (damn me) I can't help myself - YES, it is obviously,
> > unquestionably a four-bar drum break.
> >
> > What you, Dan B., need to understand <snip>
>
> > The fact that it is a four-bar break (and that
> > is a fact, a musical fact) means absolutely nothing. It's the way the drummer
> > chooses to decorate it that matters.
> >
> > Lurk mode back on.
> >
> > Keneally http://www.moosenet.com/keneally.html
>
> The Grand Wazoo has spoken.
Michael Gula
Keneally fellow once in a band that actually played the song in
question?
> Boil That wrote:
>
> > I have been mostly lurking on AFFZ lately, because of all the stupid shit that
> > happens here, but (damn me) I can't help myself - YES, it is obviously,
> > unquestionably a four-bar drum break.
> >
> > What you, Dan B., need to understand is that "A four-bar drum break" is not
> > necessarily a pedestrian, cliched undertaking. "Four bars" is NOTHING but a
> > blank pallette, a space in time for the musician to decorate. How the frig can
> > any amount of time be a "pedestrian" amount of time, and FAR more to the point,
> > how could that amount of time suddenly be magically LESS pedestrian just
> > because you found some completely arcane method of carving the exact same
> > four-bar amount of time into 16 "bars"? You do realize that the pulse of the
> > song is what indicates the feeling of time contained within it, correct? It is
> > a SLOW song.
> >
> > "Four bars of music" does not a cliche guarantee. All that matters it what
> > happens in that span of time. The fact that it is a four-bar break (and that
> > is a fact, a musical fact) means absolutely nothing. It's the way the drummer
> > chooses to decorate it that matters.
> >
> > Lurk mode back on.
> >
> > Keneally http://www.moosenet.com/keneally.html
Dan B.
Mike K. was one of them) often didn't really "understand" the structure of many of his
pieces. They just learned it in parrot-fashion: learning little bits of it at a time,
then linking it all together. Especially the one that couldn't read music--Zappa spoke of
this in a few interviews. I'll drag 'em out if you want. As Frank correctly stated: "Just
'cause a guy was in the band, that didn't necessarily mean they understood the foundation
and structure of the piece, they just learned to mimic it correctly."
Of course, he was speaking of the much more challenging pieces, as opposed to "Bobby
Brown", etc. and his more 'pop' stuff. I don't think Mike K. could refute this statement.
Chris Opperman
Michael Gula wrote in message <36D30442...@erols.com>...
>Someone will surely correct me on this, but wasn't this Mike
>Keneally fellow once in a band that actually played the song in
>question?
Why, I do believe he even PLAYS it on "The Best Band You Never Heard In
Your Life."
I think the funniest part of Dan B's message was when he counted out the
4-bar drum fill like it was 4 beats.
--Chris
http://www.oppymusic.com
Dan B.
A 'beat' would be one of the corresponding notes that falls on either the '1',
'e', 'and', 'a', etc. (or even spaces in-between those markings--hence the
problem with written notation), which brings us all full-circle.
Again, all I can say is: Educate yourself.
Chris Opperman
Dan B. wrote in message
>> > Don't take offense to the following statement--though I know certain
a.f.f.z.s who
>> > "worship" you probably will--maybe you should utilize some more complex
percussion
>> > parts in your own music as well, at least some more difficult
time-signature
>> > applications. I have never been a fan of so-called "pop" music.
Granted, the only
>> > solo work of yours I have heard was the much-older 'Hat' which I can
honestly say
>> > did not move me or impress (the wrong word) me at all. Coming from the
Zappa
>> > heritage, I found it too simple--something that didn't offer anything
unique, new
>> > or innovative.
So what CD's have you released that were unique, new, or innovative?
You've got a lot of balls criticising other people's music for someone who
has nothing better to do than stand around and insist that one bar of music
is actually equal to 4 measures.
--Chris
Sam and/or Karen Rouse
<ch...@madphat.com> wrote:
> Michael Gula wrote in message <36D30442...@erols.com>...
> >Someone will surely correct me on this, but wasn't this Mike
> >Keneally fellow once in a band that actually played the song in
> >question?
>
>
> Why, I do believe he even PLAYS it on "The Best Band You Never Heard In
> Your Life."
>
> I think the funniest part of Dan B's message was when he counted out the
> 4-bar drum fill like it was 4 beats.
This thread is beginning to remind me of the B Kliban cartoon "Proving the
existence of fish," or maybe the scene in Monty Python's "Life of Brian"
where the transvestite is arguing for his right to have babies, or maybe
even the end of "Aguirre: The Wrath of God" where the title character is
proclaiming his intent to start a new kingdom with his dead daughter while
surrounded by monkeys.
-Sam
--
Sam and/or Karen Rouse ro...@teleport.com
FZ Concert Tales:
http://www.teleport.com/~rouse/fz/
Dan B.
rhythmic complexity). You haven't understood anything I've written and now you
are advertising that fact to the whole newsgroup. Learn how to measure music
passing through it's time-space (as best as anyone can). Please, no more
ignorant comments, and false notions.
Lewis Saul
>
> I think the funniest part of Dan B's message was when he counted out
the
>4-bar drum fill like it was 4 beats.
>
Really! He claims to be a percussionist, so my theory is that somewhere
along the line, a teacher showed him the correct way to count 16th notes
(one-e-and-a) -- he may have never made it back for the next lesson, and
ended up believing that this was the correct way to count 1/4 notes...
Hey Dan -- nobody's *intentionally* picking on you here, you know? You've
gotten in over your head, yet you keep insisting you're still correct!
There are a *lot* of musically-literate people that read this ng -- yet,
speaking for myself, I try *very hard* _never_ to "talk down" to other
posters who don't possess the same level of musical knowledge! If you don't
understand something that FZ does, there are BUNCHES of Zappologists who can
jump in and explain it! Nicely.
I can't believe this all started when Michael P asked how one would go about
tabbing out a drum solo!
**
As to your previous statements:
>And as for you Mr. Saul, I've heard some of your Zappa MIDIs and although
some of the
>chord sequences are accurate,
Phew. So I did get a *few* of them right, eh? I'd certainly greatly
appreciate it if you would take a few minutes and tell me each and every
"chord sequence" which is "inaccurate" in my four FZ MIDIs???
>I know, you "academic" types (L.S.) would probably try to put down someone
like Jimi Hendrix who couldn't read or write music; but you know what: Mr.
Hendrix's music will be played for as long as humans
exist on this planet, while your work will be quickly forgotten. (It's not
even original or unique, as well.)
Sniff, sniff...
LS
Lewis Saul
I am a percussionist--my original music is extremely complex time-signature
wise.
Since you can't hear it, it doesn't make sense to discuss it. (But I will
have a
review published soon in a music journal, as it is now being made available,
perhaps the nonbiased reviewer will mention the technically challenging
aspects
of my music, rhythm-wise. All I can say in the interim is that it is music
that
requires great dexterity to perform, and that is is innovative, unique and
"good".)
What music journal?
LS
Lewis Saul
>Boy, you know nothing about rhythm.
>Again, all I can say is: Educate yourself.
>
All I can say is -- Danny boy, you're getting in *WAY* over your head, and
you're really embarrassing yourself!
LS
It Never Entered My Mind
<ls...@azstarnet.com> wrote:
>Dan B said:
>I am a percussionist--my original music is extremely complex time-signature
>wise. Since you can't hear it, it doesn't make sense to discuss it. (But I will
>have a review published soon in a music journal,
>What music journal?
>
>LS
The Incredible Hulk ? Superman ? Batman and Robin ?
:-P
Jerry Hull
>My self-produced music is available (though I doubt you would appreciate it's
>rhythmic complexity). You haven't understood anything I've written and now you
>are advertising that fact to the whole newsgroup. Learn how to measure music
>passing through it's time-space (as best as anyone can). Please, no more
>ignorant comments, and false notions.
Hey, my self-produced music is available. too! Bend over & spread 'em.
--
Jer
"However far you may travel in this world, you will still occupy
the same volume of space". Traditional Ur-Bororo saying.
Dan B.
effectively--but this is only because what I'm saying is correct. It is a 16
measure drum break not 4. Unfortunately, I can't make people understand this
(not without counting it for them in person, it would seem though).
Dan B.
details--if you want me to.
Lewis Saul wrote:
> Dan B said:
>
> I am a percussionist--my original music is extremely complex time-signature
> wise.
> Since you can't hear it, it doesn't make sense to discuss it. (But I will
> have a
Dan B.
accurately, though obviously it can be used to designate quarter notes and
sixteenth notes. I've indicated how to count the length of this drum break--you
have not proven to me otherwise. Oh yeah, who wears the official title
"Zappalogists"? Have you self-appointed this title to yourself? It seems you
have a "need" to. That is irrelevant to the point I have made.
I'm talking specifics here--it is a 16 bar break. No one can prove otherwise
because it would be incorrect: dealing with the eighth note feel and medium fast
tempo we are discussing that "Florentine Pogen" possesses. Saying I am in "over
my head" when we are discussing rhythmic aspects of FZ's music is foolish and
condescending on your part. I'm sorry you have to try to been seen as a "Zappa
musical expert" but that's not my problem. It is a 16 bar break and that is
irrefutable unless you're a very slow counter, but that would not be appropriate
for the song we're discussing. If you wish I will send you a cassette of my
music--that should answer any questions.
New question: Who can tell me how long the drum fills in "Advance Romance" are.
And don't say 4/4 because the song is in slow 4/4. I'm talking the duration, not
the time signature--there is a difference which unfortunately you guys aren't
comprehending.
Sam and/or Karen Rouse
> Again, that's misinformation, Lewis. 1-e-and-a-2 designates eighth notes more
> accurately, though obviously it can be used to designate quarter notes and
> sixteenth notes.
{rest snipped}
Just curious - how many times do you need to yell "16 ounces is a pound!"
at the butcher before you manage to leave the store with a package of
burger?
Patrick Neve
> On Tue, 23 Feb 1999 15:47:58 -0500, "Dan B." <dan...@erols.com> wrote:
>
> >My self-produced music is available (though I doubt you would appreciate it's
> >rhythmic complexity). You haven't understood anything I've written and now you
> >are advertising that fact to the whole newsgroup. Learn how to measure music
> >passing through it's time-space (as best as anyone can). Please, no more
> >ignorant comments, and false notions.
>
> Hey, my self-produced music is available. too! Bend over & spread 'em.
How about a compilation of original music by affz'ers? They did this
over at rec.audio.pro and it was such a success they made like four or
five volumes. The guidelines were something like: One track per entry,
original music only, keep it under a certain number of minutes, and that
was it. Five bucks a disc, limited edition. The liner notes were
online.. everyone got a picture and a paragraph or so to describe what the
track was about. I'd buy something like that if AFFZ produced it! A
totally non-commercial project. Anyone interested?
Patrick Neve
> >AFFZ produced it! A
> >totally non-commercial project. Anyone interested?
> >
>
> I'd love to send in this screwed-up piece I did. Where do I sign up?
I'd love to compile this project, if there are enough willing victims.
Sam and/or Karen Rouse
Patrick Neve <sp...@darkwing.uoregon.edu> wrote:
> How about a compilation of original music by affz'ers? They did this
> over at rec.audio.pro and it was such a success they made like four or
> five volumes. The guidelines were something like: One track per entry,
> original music only, keep it under a certain number of minutes, and that
> was it. Five bucks a disc, limited edition. The liner notes were
> online.. everyone got a picture and a paragraph or so to describe what the
> track was about. I'd buy something like that if AFFZ produced it! A
> totally non-commercial project. Anyone interested?
I think that's a great idea! I even have a lame candidate or two.
Flambay
>
> >AFFZ produced it! A
> >totally non-commercial project. Anyone interested?
> >
>
hey I released an album - not that it's really that good , but wtf??
Michael Gula
>
> >> >AFFZ produced it! A
> >> >totally non-commercial project. Anyone interested?
> >> >
> >>
> >> I'd love to send in this screwed-up piece I did. Where do I sign up?
> >
>
> stuff on a CD. Now THAT, THAT would ... that would probably scare the piss out
> of me. Do Michael P. and Lewis write music as well as transcribe? How many
> others on here writer music?
Don't know about Michael P., but Lewis had some original stuff on
his (defunct) web site--if he ever puts out a CD I'll buy one.
I've tried to write music. No one EVER, EVER liked my music.
Patrick Neve
> StucoHomes wrote:
> >
> > >> >AFFZ produced it! A
> > >> >totally non-commercial project. Anyone interested?
> > >> >
> > >> I'd love to send in this screwed-up piece I did. Where do I sign up?
> > >
> > >I'd love to compile this project, if there are enough willing victims.
> >
> > If you, me, Oppy, Mike Keneally :), PAPA, ninja, and even ZOOGZ could all put
> > stuff on a CD. Now THAT, THAT would ... that would probably scare the piss out
> > of me. Do Michael P. and Lewis write music as well as transcribe? How many
> > others on here writer music?
>
> Don't know about Michael P., but Lewis had some original stuff on
> his (defunct) web site--if he ever puts out a CD I'll buy one.
>
> I've tried to write music. No one EVER, EVER liked my music.
That's OK. Send me your poor, your tired, your nested tuplets yearning to
be heard. I will take one submission from as many contributors care to
contribute.. and distribute them at cost to whoever wants them. Anybody
care to design a cover? What should we call this thing? I'm willing to
take this semi-seriously and put up a page in support of it, print some
covers, master it, the whole thing. Please e-mail me privately to discuss
what format your piece is in and how to get it to me. What I'm thinking
is that I'll foot the bill for masters being returned, but please help me
pay for the costs of the discs, because, let's face it peoples, we'll
probably be our only customers. It shouldn't be more than five bucks each
including domestic US shipping. An audio counterpart to the AFFZ omnibus!
Flambay
>
> If you think I'm a snob you're misinformed. I thought I was trying to be helpful,
> then was attacked for explaining certain limitations to musical notation. Notation
> is the starting off point, there is much work to do after that to make something
> into "music". There is no way that a piece of paper can accurately convey musical
> accents fully, just as the thoughts behind the words typed on a keyboard can be
> easily misconstrued. (see above)
>
why do you keep telling people they're misinformed.....??
Manning Bartlett
Boil That wrote:
> I have been mostly lurking on AFFZ lately, because of all the stupid shit that
> happens here, but (damn me) I can't help myself - YES, it is obviously,
> unquestionably a four-bar drum break.
>
> What you, Dan B., need to understand <snip>
> The fact that it is a four-bar break (and that
> is a fact, a musical fact) means absolutely nothing. It's the way the drummer
> chooses to decorate it that matters.
>
> Lurk mode back on.
>
> Keneally http://www.moosenet.com/keneally.html
The Grand Wazoo has spoken.
StucoHomes
>totally non-commercial project. Anyone interested?
>
I'd love to send in this screwed-up piece I did. Where do I sign up?
- - - - - - - - - - -
Jody B. aka Jack P. Armstrong/Stucco Homes
"That's messing with my mind" - Anomaly R. DeJesus
"Smelly tongues look just as they felt" - Residents
"I ate a hot dog, it tasted real good. Then I watched a movie from Hollywood."-
FZ
It Never Entered My Mind
<sp...@darkwing.uoregon.edu> wrote:
> I'd buy something like that if AFFZ produced it! A
>totally non-commercial project. Anyone interested?
Let AFFZ produce a quilt out of Molly's interior items ... music
would be too pretentious.
heh
Adrian Clark
> I have never been a fan of so-called "pop" music.
So-called "pop" music?! Whooo... aren't we having trouble with the 20th
century? Do you like so-called "classical" music, or so-called "jazz"?
> Granted, the only solo work of yours I have heard was the much-older 'Hat'
> which I can honestly say did not move me or impress (the wrong word) me at
> all. Coming from the Zappa heritage, I found it too simple--something that
> didn't offer anything unique, new or innovative.
But isn't this a mistake a lot of people make with Zappa and
Zappa-related music... it's good because it's difficult and therefore
the plebs won't be able to understand it... therefore it means those in
the know can occupy a pleasant little ivory tower, from which they can
sneer at the rest of the human race. Plenty of Frank's music is simple,
plenty of Mike's music is simple. Those pieces are no less important or
impressive than the complex tunes (and your dismissal of "hat." as being
too simple made me wonder - do you actually play music at all?) just
different. Simple music requires just as much passion and conviction to
play it well; it just might not require the same level of technical
proficiency.
Adrian
--
___________________________________________________
And when you are inside the infinite misery jumper
Pulling it over and over your head because it
replicating at the waistband, and you never get out
StucoHomes
>> >totally non-commercial project. Anyone interested?
>> >
>>
>
If you, me, Oppy, Mike Keneally :), PAPA, ninja, and even ZOOGZ could all put
stuff on a CD. Now THAT, THAT would ... that would probably scare the piss out
of me. Do Michael P. and Lewis write music as well as transcribe? How many
others on here writer music?
Manning Bartlett
Lightning Roy
> **There are four bars of drum fill.**
>
> You're welcome to dream about 16 bars for the rest of your life, Mr. Deputy
> Dan, but there are
>
> FOUR bars of drum fill here. (that equals 16 *beats* btw)
>
> Anyone care to back me up on this one?
One!
Surprisingly, this song holds the same tempo from beginning to end. I was
able to accurately tap out a standard 4/4 beat using 8th note subdivisions
(using a beat bug, mind you!) throughout the piece and have each "1" show
up where it was supposed to show up, even through the drum fill(s), which
are both simply 4 measures long. All I did was throw a cymbal crash on
each count of "1" throughout the duration, and suddenly, I felt like a guy
in a gorilla suit was attacking me....
---Doug (Who probably doesn't know better, but what the fuck, man...)
-----------------
macp...@pbsilink.com
macp...@inreach.com
Lightning Roy
> A medium part of the song: Nappy's "Na, Na Na" section is obviously not
at a 'slow'
> tempo--it is actually medium to medium-fast.
Dan,
Be a dummy for once: Put the cee-dee on and play along, ignoring
Chester's brilliance, and...
...By simply tapping out the song with a simple 4/4 groove subdivided by
8th notes, you wind up with each "NA," as in "NA-na-naaaaaa/NA-na-naaaaaa"
counting as "1." Follow that same tempo through the drum fill, tapping
out the same 4/4, you'll find yourself coming out of the drum fill
accenting (or heel-splashing) your hi-hat on "1" before "She was the
daughter..." Count that whole mess out (the fill, that is), and you have
4 measures of 4/4 making 16 beats in all.
The whole song follows the same tempo very nicely under the same 4/4
constraints.
However, Dan, it's what Chester DOES with it that makes it so special (and
I understand ALL that you are saying). He's not hitting his snare on 2/4
for a simple back-beat. He's all over the place on the song. Following
just his snare play is a fascinating adventure, since he conveniently
avoids the standard 2/4 back-beat at all times, it seems. But my
rhythmically impaired step-daughter could still tap her toes to the
fucking song all the way throughusing the good old 4/4 the song starts
with.
Nonetheless, Chester was (is) a brilliant drummer, and we can forgive him
his personal foibles. I mean, can you imagine him dismantling a 4/4 so
terribly that even you can't follow it?
The nerve!
---Doug (Holding his ground...)
-----------------
macp...@pbsilink.com
macp...@inreach.com
ZappaLVR
In article <36D375...@the-bed.com>, Flambay <Magicf...@the-bed.com>
writes:
He's misinformed.
Zapp...@aol.com aka Chris Maxfield
http://members.aol.com/zappalvr/ZAPPA.html
Kill Ugly Sig Files! To e-mail, remove "honza" from my address!
Adrian Clark
> My self-produced music is available (though I doubt you would appreciate it's
> rhythmic complexity).
Well, call me naive, but I reckon a piece of music featuring a flute
playing in 3/4 simultaneously with an oboe in 2/8+3/8 and a bass
clarinet in 4/4 is rhythmically complex. I dunno, in the greater scheme
of things, maybe it isn't. But you do seem to be parading your ability
with complex rhythms (which I don't, for one moment, doubt; in fact I'd
be interested to hear some of your music) when the predominating
consideration should be "whatever it's made of, does it sound good?"
Wouldn't you agree?
Adrian Clark
> How about a compilation of original music by affz'ers? They did this
> over at rec.audio.pro and it was such a success they made like four or
> five volumes.
Marvellous idea. They did something similar on the VS-880 list, too, but
I subscribed too late to be able to join in. Mind you, the thought that
one of the more "established" musical folks on this NG might listen to
my shite... the embarrassment!
Adrian Clark
> I can't believe this all started when Michael P asked how one would go about
> tabbing out a drum solo!
So how would you tab out a drum solo, th...<SLAP>
Chris Opperman
StucoHomes wrote in message <19990223202811...@ng25.aol.com>...
>>> >AFFZ produced it! A
>>> >totally non-commercial project. Anyone interested?
>>> >
>>>
>>> I'd love to send in this screwed-up piece I did. Where do I sign up?
>>
>>I'd love to compile this project, if there are enough willing victims.
>
>If you, me, Oppy, Mike Keneally :), PAPA, ninja, and even ZOOGZ could all
put
>stuff on a CD. Now THAT, THAT would ... that would probably scare the piss
out
>of me. Do Michael P. and Lewis write music as well as transcribe? How
many
>others on here writer music?
Fuck, why don't I just submit my sequence of Number Six by Frank Zappa?
--Chris
Chris Opperman
Lightning Roy wrote in message ...
> But my
>rhythmically impaired step-daughter could still tap her toes to the
>fucking song all the way throughusing the good old 4/4 the song starts
>with.
LOL I just got this vision of Mr. Roy being like, "Hey,
psst...kid...c'mere...TAP! TAP! TAP!"
--Chris
Chris Opperman
Adrian Clark wrote in message
<1dnpgef.1bm...@p95.nas1.is4.u-net.net>...
>Well, call me naive, but I reckon a piece of music featuring a flute
>playing in 3/4 simultaneously with an oboe in 2/8+3/8 and a bass
>clarinet in 4/4 is rhythmically complex.
I don't know if it's rhythmically complex, but it's really funny! I'm
surprised no one's found the bass line to Zomby Woof stuck in there yet. ;).
I'll be making the score available soon, but The Day Big Bird Turned Blue
is, to me, even funnier than the cash register at the end of Ain't Got No
Beef!
--Oppy
Chris Opperman
Chris Opperman wrote in message <7b0v6s$56r$1...@ash.prod.itd.earthlink.net>...
>
>Adrian Clark wrote in message
><1dnpgef.1bm...@p95.nas1.is4.u-net.net>...
>
>>Well, call me naive, but I reckon a piece of music featuring a flute
>>playing in 3/4 simultaneously with an oboe in 2/8+3/8 and a bass
>>clarinet in 4/4 is rhythmically complex.
>
> I don't know if it's rhythmically complex, but it's really funny! I'm
>surprised no one's found the bass line to Zomby Woof stuck in there yet.
;).
Wait, I'm a dork, I meant 50-50. I have Zomby Woof on the brain...the
arrangement on the '88 version kills me...that could very well be my
favorite guitar solo. That, and the one on Any Kind of Pain is perfect-o as
well.
--Chris
Flambay
>
> In article <36D375...@the-bed.com>, Flambay <Magicf...@the-bed.com>
> writes:
>
> >
> >Dan B. wrote:
> >>
> >> If you think I'm a snob you're misinformed. I thought I was trying to be
> >helpful,
> >> then was attacked for explaining certain limitations to musical notation.
> >Notation
> >> is the starting off point, there is much work to do after that to make
> >>something
> >> into "music". There is no way that a piece of paper can accurately convey
> >>musical
> >> accents fully, just as the thoughts behind the words typed on a keyboard
> >>can be easily misconstrued. (see above)
> >
> >why do you keep telling people they're misinformed.....??
>
> He's misinformed.
>
Kristian Kier
<sp...@darkwing.uoregon.edu> wrote:
> An audio counterpart to the AFFZ omnibus!
Count me in!... As a buyer! 8-)
-Kristian
Texan Hawk
Written By :Û stuco...@aol.compostheap (StucoHomes)
Msg. Status:Û Please reply!
Node number:Û 1
ßßßßßßßßßßßß
I play clasical guitar. I also am working o a spoken word cd kurrently. Most
of the music I do isn't as advance musically as I'd like it, but the words are
advanced. I'd be willing to contribute to some sort of project involving
music.
[Personal Tag]: buy dada by dada
A fool's bolt is soon shot.
Origin: Atomnos BBS * 412-766-8149
StucoHomes
to read anything, and that he's going to stay away from his computer as much as
possible now. I emailed him anyway, but dunno if he'll get it or not. I also
e-mailed Mike Keneally.
Adrian Clark
> Wait, I'm a dork, I meant 50-50. I have Zomby Woof on the brain...the
> arrangement on the '88 version kills me...that could very well be my
> favorite guitar solo. That, and the one on Any Kind of Pain is perfect-o as
> well.
I've always been a big fan of Frank's solo entrances (working on the
assumption that if you win an audience over with the first few notes,
they'll believe in whatever you do afterwards) and 'Any Kind of Pain' is
right up there with 'Shut Up... Some More' as one of my all time
favourites.
Adrian
--
________________________________________________
When you monged so soft and blacked in cupboard
But other knuckles knocky try to get in
________________________________________________
Greg Carson
I would also want on of these CD's count me in, just wish I had some
talent, other than consumer