Moonray Project
Daddio
hand, at the door. But you can come in, Arlene, since we've already
seen that your penchant for analysis would turn Miles over in his...
eternal zoot suit :-)
In article <3a419...@huge.aa.net>,
"Max Kuenkel" <agen...@seatac.net> wrote:
Okay Max, I've broken down your schema as follows....
Intro
> 4 bars g minor
Orchestra
> 8 bars g minor (A) main theme
Clarinet
> 8 bars (A) main theme
Modulation
> 2bars bridge to d minor
Orchestra
<snip>
> bar 19: (G minor)
> bass: G
> chord: G minor + E =
> (G, B-flat, D, E)
(four beats)
COMMENT: What we have there is a Gm6
> bar 20:
> bass: A D
> chord: II7 (A, = C, E-flat, G
>(two beats)
COMMENT: This is an Am7b5
>...then V7 (D, F#, A, C)
> (two beats)
COMMENT: D7
> bar 21:
>(chromatic) bass: G# A A# B
> chord: (G#, B, F, C#)
COMMENT: The chord is C#7 with bass in G#
chord
> (A, C, F#, D)
COMMENT: D7
chord
> (A#, C#, G, D#)
COMMENT: D#7
chord
>(B, D, G#, E)
COMMENT E7
> bar 22: (D major
>bass: E A
chord: II7 ( B, G, D)
COMMENT: Em7
> (two beats), then
> V7 (G, C#, E, A)
>(two beats
COMMENT: A7
> / / / /
>
> And then, on bar 23, starts that wonderful vocal section in D minor.
So, what we end up with is a harmonic flow that looks like this:
Gm6||Am7b5||C#||D||D#||E ||Em7||A7
So, in this I see what you were referring to in your former analysis as
the "bridge", and that's why I couldn't get it to fit the music in the
section I was referring to as "the bridge" which is the place where the
vocal goes:
"Once we knew the joy,
of girl in love with boy,
but he made a toy
of romance."
By email, I received this...
Dm7 | Gm A7b9 | Dm7 | Gm A7b9
Dm7 | Gm A7b9 | Dm7 | Gm A7b9
Dm7 | Gm A7b9 | Dm7 | Gm A7b9
Dm7 | Gm A7b9 | Dm7 | ....
Followed by the sort of coda to this A section which (omitting the
subdominant) is...
A7b9 Dm|
Then comes the "bridge" (or "B section") in question...
D7b9 | E7b9 | E7b9
A7 Bm7 | Cdim7 C#dim7
Then back to the "A" section...
Dm7 | Gm A7b9 | Dm7 | Gm A7b9
Dm7 | Gm A7b9 | Dm7 | Gm A7b9
Sent via Deja.com
http://www.deja.com/
Daddio
the following....
> Then comes the "bridge" (or "B section") in question...
>
> D7b9 | E7b9 | E7b9
That second E7b9 should be D7b9
> A7 Bm7 | Cdim7 C#dim7
>
> Then back to the "A" section...
>
> Dm7 | Gm A7b9 | Dm7 | Gm A7b9
> Dm7 | Gm A7b9 | Dm7 | Gm A7b9
--
Daddio
http://listeningroom.lycos.com/fan/bands/daddionysus/Band.html
Daddio
au...@ix.netcom.com (Arlene Usui) wrote:
> On Sat, 23 Dec 2000 20:59:12 GMT, Daddio <dadd...@yifan.net>
> wrote:
>
> > ... LOL! I'm so glad that you don't "mind". Maybe you wouldn't
> > mind having a look at the new thread so we can hear your opinion
> > of those D7b9 chords, as to whether you think they fit what we hear
> > in that bridge. But, I wouldn't want you to strain your analytical
> > capacities too much.
> >
> > You know, Arlene, you can go on for ever justifying to your own
> > pride a discourtesy and wind up being another Miles Davis, but
> > that's okay--the job's open for applications.
>
> I have no idea how you could take anything I've said as an insult.
Oh, I don't mind the insult that you refuse to be gracious enough to
admit, it's far more your sour response to the joke about it that I
find so humorous...
> I recounted a memory and offered some opinions. There's no need
> to be patronizing.
LOL!
Life is *such* a *serious* proposition, ain't it?
------------
I'd like to hear from some people who've taken a crack at those changes
in this Moonray thread. As for me, I'm not satisfied, most
particularly with that chromatic series of seventh chords that Max has
identified as the modulation from the G mimor section to the D minor
section. I'm having difficulty hearing anything like that--not that it
isn't there, it just may be, but to my taste, there's something about
that immediate change from E7 to Em7 that seems just chinzy--even if it
is in the original arrangement. It strikes me that there may be a more
rational way to get to that A7 from the Gm. The progression Max has
identified runs as follows:
Gm6 Am7b5 C#7 D7 D#7 E7 Em7 A7
It's not that there's anything wrong with an abrupt change from a major
chord to the same named minor chord. Jobim and Gilberto do it all the
time, and do it right nicely, as for example in Corcovado where the
progression goes Fma7, Fm6, Em7, C7+5 Dm7. In this song it sounds like
that Fma7 _should_ change to that Fm6. I don't get the same feeling
about this change in Moonray.
In the chords Max has given above, the change from Gm6 to Am7b5 sounds
right, but that sudden shift to the C#7 despite the G# bass seems
jarring and inelegant, particularly as the form is simply moved up
chromatically to the E7, then the Em7--a very fast series of changes,
just one beat per chord.
These are the things I'm here to discuss, not this other horseshit
about what's "too analytical" or "what does personality have to do with
it"? Get atta here. Any more posts containing a lot of anal, picky,
self-serving, bullshit will be unceremoniously kicked in the face with
a cybernetic hobnailed boot and I don't mean maybe.
I'm here to discuss Moonray, elements of harmony and I won't listen to
any cloying, whining about what's too f*cking "analytical", or "what's
this got to do with that." You whiners and pickers can kiss my ass,
and kiss it good. Got it? I'm here to get down with some interesting
and ANALYTICAL shit. If you're too full of your own--go take one, or
get off the pot of my interest.
But do it, Baby, with a smile. :-)
In article <920bdb$ohl$1...@nnrp1.deja.com>,
--
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
Daddio
terrible, incredible new cyber-ass-kicker "On a Mission From God"
lately come into these parts like a howling coyote into the hen house
of life to bite a few chickens in the buttfeathers, like who he really
is? Well come see the brand new face lift at Daddio's Jerv-Zine now on-
line for the first time since the new upload ten minutes ago...
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
And watch out, baby 'cause there ain't nothin' humanly sacred in these
parts, not a tree, not a dame, not even the God Damn Moby Dick! Our
motto is....
Bite the Whales!!
Check out the essay on Anais Nin, "Wild Bitch Hillcock'.
Daddio
>All I can say is that you have the honor of being in my killfile.
>AMF.
--
>Regards,
>Stan
"Regards". LOL.
I couldn't be more gratified. Truly! For indeed, this is a far greater
honor than he can know. If there is one sort on the internet whose
overall perspective on things I can happily do without it is precisely
these types which represent this ostrich or turtle-like consciousness
that finds such a mottled green shell or head-hole essential to their
happiness; and I am always most pleased to see those heads withdrawing
or disappearing beneath the cybersands at the earliest possible
opportunity. For every person who pulls a killfile on me, I put a
notch on the side of my mouse, and blow the smoke off my keyboard.
And no, it is not 'sour grapes' because I mean what I say as I remain
as dead serious as Billy the Kid about it: I've never once been moved
to use such a cheap technique of censorship in my own cyber-discourse;
and as I try to contemplate the sort of consciousness that persists in
the utter cowardice and conceit that would take recourse to such a
measure, why obviously wouldn't you just know that is exactly the sort
of person I would most desire not to be bothered with; that I am always
be most pleased to find them evermore residing in the Boothill of my
consciousness after they've bumped themselves off like that?
Yes, yes. These squabbling, gobbling mother hens of totalitarian anti-
free speech hysteria? Give me a break. They worry about the children
who frequent the newsgroups? There is not a more foul-mouthed bunch of
humans on earth than the children. I know, I was one. Such inane
hypocrisy. There sits that television with every four letter word in
the book coming from its speakers, the Cyndy Margolis Show, Howard
Stern, Strip Poker, Jerry Springer, every conceivable manner of trash
and these hypocrites worry about USENET? About four letter words being
used in a totally non-erotic, merely slang context? Truly, it is not
the language that bothers them, it is the freedom of expression, the
liberty of being expressed by them that scares the pants off these
ninnies, tattle-tales and bourgeois snot-noses.
Yes, their own self-dug killfile graves make for just such a perfect
end result all around. It's just that much less whining, tattling and
hypocritical screeching that one must put up with to the ruin of all
the robust fun.
Protect the Virgin Ears of your hypocrisy! Killfile Daddio NOW, before
it's too late and you start to discover what Freedom of Being is all
about!
Get with it!
Don't delay!
Pull that killfile lever and disappear today.
Don't miss this once in a lifetime opportunity.
Act Now or miss out on that money-back warranty.
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
Daddio
"Barry Graham" <btgr...@tpg.com.au> wrote:
>
> Ulf Åbjörnsson <aabj...@algonet.se> wrote in message
> news:924fok$3sb$1...@cubacola.tninet.se...
>
> G'day Ulf and Seasons Greetings
>
> Do you get the feeling that the Moonray Project is listing to
starboard,
> taking in water fast and going down by the stern?
Since the project was conceived and instituted by Daddio, it's not over
till Daddio says it's over. Whether others are jumping overboard like a
lot of squealing rats leaving a sinking ship or not is only a loss of
squealing rats--not the ship.
Somebody the other day asked what Miles' Davis personality had to do
with it?
Haw! Looky here: you get the little people and you get the big
people, and the big people don't act like the little people, they know
who the hell they are, and they take the authority they need. Miles
did that, it made him a big butthole: So What?
When Krupa walked out on Benny Goodman it wasn't pretty considering
some of the things Gene was saying about Benny. But Benny was the guy
whose idea had founded the 'project'. He owned it, lock, stock and
barrell and if others didn't like that, then it was just Dave Tough on
the drums, with Krupa on an ego trip off on his own, eventually winding
up in jail--and that's all there was to it. Then it was Benny again,
hiring Gene first thing when Gene got out. Who would have known? The
big guys ARE the big guys, and they ain't got no time to listen to the
little guys little conceits.
Oh, Benny "Don't BE That way". Benny was being the only way he knew
how to be which was to be a leader. People can either dig it or go do
their own thing. But if it's Benny's thing they are liking to do, then
they need to remember it's Benny's thing.
Ain't a single damn nice, sweet "democratic" thing about it. Let the
rats jump, the ship is still here with positions open for ship's
officers and a First Mate--and so long as they know who's boss,
everything will float along real nice. I never let people get the
notion into their heads that something I've put down is being "shared".
Screw that. I'm working up my own performance of this song, it's going
to be at my site, it was not being talked about before I got here.
It's MINE, baby and screw anybody that thinks otherwise. People soon
learn that I am very generous in my gratitude for any help and/or
instruction I can get on any of my projects. But when some butthole
comes around trying to take over what I started. That rat will soon
jump.
Merry Christmas!
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
Dan Gaynor
Gm D7b9 | D7b9 | Gm Cm | Cm
E7 Bm7b5| bm7b5 E7 | A7 Bm | Cdim A7/C#
based on second / third choruses
"Daddio" <dadd...@yifan.net> wrote in message
news:9231du$ka2$1...@nnrp1.deja.com...
Daddio
"Dan Gaynor" <mrd...@hotmail.com> wrote:
> other changes for bridge
>
> Gm D7b9 | D7b9 | Gm Cm | Cm
>
> E7 Bm7b5| bm7b5 E7 | A7 Bm | Cdim A7/C#
>
> based on second / third choruses
Okay Dan,
Sorry about the delay. My ISP's been down on account of ice.
What we got here?
> Gm D7b9 | D7b9 | Gm Cm | Cm
>
> E7 Bm7b5| bm7b5 E7 | A7 Bm | Cdim A7/C#
>
> based on second / third choruses
Just to be sure we're on the same page, I guess what you mean by
the "second and third choruses" is the...well, I guess I don't know...
I was going to say the Bb instrumental part where the sax takes the
bridge after the clarinet solo, but...
No. Now I see where you're at. You've got the section coming out of
the intro which modulates from the Gm to the Dm for the vocal.
Okay, playing this along with the MP3--which like Max K. said is nearly
a full quarter tone off, something I'll have to fix--I can hear that
last pair of changes, the Cdim to A7/C#. But, my problem is having a
very poorly developed ear for the sound of that flat-ninth and the flat-
five minor chords, and that's always been a toad in the road, a place
of stumbling for me in Jazz, the dark dissonance in those harmonies. I
mean, I listen to the song playing those chords on my guitar and I hear
nothing but mud, and yet listening to the MP3, I don't hear anything
except a perfectly reasoned progression of harmony. Just because I
don't hear that flat dissonance in the orchestral arrangement doesn't
mean it's not there because, I suppose, of that soprano melodic line
that carries this progression, and if anybody has worked that out, I'd
sure like to find out what those notes are, and what, if anything they
have to do with these dissonant chords, like, is that where the
accidental flatted fifths and ninths are occuring--in that soprano
melody? Is that what rationalizes the appearance of these flat fifths
and ninths?
You tell me, man. I'm new at this. :-)
As to the other Mystery Section, that vocal bridge...
We were talking about the first verse of the vocal where at the end it
breaks from the Dm7/gm7/A7 pattern for this modulated bridge...
"Once we knew the joy,
Of girl in love with boy,
But he made a toy,
Of romance"
Tonight, suddenly, I thought of another song that it seems to me goes
through a similar harmonic passage, a Gershwin number I first heard
performed by Benny Goodman with Peggy Lee, "How Long Has This Been
Going On?"
The song is in the key of F but it starts with a dominant tonality and
resolves on the tonic. Then for that bridge (similar, it seems to
this) it merely goes to the subdominant for a modulation to the key of
B-flat, going back and forth between Bb and Eb until it resolves back
through a series of Am and Dm chords to the dominant tonality of C
major, C diminished and augmented chords.
Looking back at Moonray, I see the same thing happening, how it starts
in G minor and then moves to the dominant for the verse, I'd suggest
that we're looking at something similar even though the 'dominant'
section is D minor rather than major--or is it? I find that I can comp
a D9/Gm7/A7 that sheds just a...heh-heh "Moonray" of brightness that is
kind of pleasing against the minor tone of the orchestration. You get a
lot of blues that are running minor scale bass and soprano lines over
guitar driven major chord tonalities that use the minor seventh added
to the triad, or the ninth.
Now, coming to this bridge...
"Once we knew the joy,
Of girl in love with boy,
But he made a toy,
Of romance"
I'm playing this, following the pattern of the Gershwin song by
presuming that this arrangement is actually in G minor so that this
subdominant bridge modulation is to the key of C major...
C9 F9
"Once we knew the joy,
C9 F9
Of girl in love with boy,
Bm7 Em7
But he made a toy,
A7
Of romance"
This latter Bm7-Em7-A7 is the "cadence" that Max K. was so hot about,
and with good reason, even typical and common a hook as it is; that
sho' don't detract from the groove.
You can download my take on the Gershwin song, as performed on my old,
no longer extant Two-Ton Tessie of a Fender acoustic/piezo electric
single cutaway flat-top, yeah you can get that, if you want it from
Jerv-Zine II, my download site by clicking the "MP3", the "Jerv-Zine
II" or the "Mirror-Site" link at...
http://daddio45.tripod.com/index-1.html
And thanks Dan for lending a hand!
--
John/Jerv
(Daddio)
AKA
"Daddionysus"
"Uncle John Smokestack-Lighteningstein"
(A nice 'Jewish' name, wouldn't you say?)
Daddio
progression (playing along with the record) that I suggest below for
that bridge, and now feel fairly certain it is what's happening in this
arrangement.
In article <92hjtu$v81$1...@nnrp1.deja.com>,
Daddio <dadd...@yifan.net> wrote:
<Big snip>
--
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
Max Leggett
http://daddio45.tripod.com/index-1.html and check out the sound
clips. I downloaded How Long Has This Been Going On, and Sweet Home
Chicago. Priceless, just priceless.
And Daddio, if you want to hear some reall music, here are some
websites by some people on this list:
http://webhome.idirect.com/~joegold/
http://onestopjazz.com/kvansant/flash-index.html
http://www.jackzucker.com/music/index.htm
http://www.jeffgower.com/
http://www.jimmybruno.com/
http://www.invisiblemusicrecords.com/Resources/Amphora.html
This list is by no means exhaustive, Mr Daddio, but before you call
names, maybe you should listen
And take some guitar lessons, fer the luvva mike. LOL
Daddio
The laughs are all mine. Your envy of my chops (and these pathetic
falsifications that you use to justify it)is natural and only to be
expected. I don't claim to be the greatest guitarist to come along
since Django but I'm getting there. Keep one thing in mind. I don't do
dubs; I don't splice; each performance is one take, mistakes and all.
I'm not afraid to be real. No phony baloney. You best reserve your
opinion until you've listened to them all. Then let your envy really
have its full reign.
Others have used words like "awesome" in reference to this music. So,
like I say, your response as a typical hyper-competitive wannbe is only
to be expected.
Besides. You ain't heard nothing yet. Wait till my performance of
Moonray goes on line; then you'll be eating your heart out; you'll be
chewing on your strings a la Jimi Hendrix; man, you'll be squirting
Ronson fluid on your axe, and burning it like a witch.
Max Leggett
>> If anyone on this list wants a good laugh, go to Daddio's website
>
Daddio - you're a piece of shit as a musician and a human being. You
can't write, you can't play, and you certainly can't sing. Why don't
you do the world a favour and just fuck right off.
Daddio
ROTFLMAO! You know, it takes a hell of a lot more than just "bad
music" to generate a rabid opinion like that. Fortunately, the music
speaks for itself, as others are now hearing.
Of all the songs at my various download sites, there is only one that
I'm almost ashamed of, and that's the one I recorded just for the hell
of it when I was half-drunk. :-) That was a happy night. Sweet Home
Chicago II. I was having a lot of fun with that one though so, I'm
keeping it.
Here's another thing about my music: I have super heavy guage sixth and
fifth strings on my '74 Guild ST-100 on which I'm playing lead, rhythm
and bass all at the same time. The lead patterns are sparse because
they cannot be put in at the expense of the rhythm. Of all these MP3's
only one is overdubbed where I have a free hand for playing
lead, "That's All Right, Mama". Generally I don't like to do that,
because I don't like fake music.
*Moanin' the Blues II & III* are the best expositions of my lead being
expressed, despite the same limitation of having to play bass, rhythm
and lead at the same time. "Lonesome Whistle Moan" is another, and
that is the song that people in my writing group liked a lot, the
singing most particularly. So, when the people say they like it, why
should I listen to what you say? Answer: I shouldn't. Fact: I don't.
In order for your opinion to even begin to hold any water, you have to
put your MP3's where your big mouth is. Where's your proof that you
can sing and play? Hey! Put up or shut up. I checked out Joey's clips,
that 'Amphora' site, and one other. Some of that stuff was pretty
tasty; which I am able to say since I'm secure enough in my own
material that I don't have to get all jealous, mean, hateful and
envious. Ain't no percentage in that.
Now, I am a published writer, Max, so just like my music fans, my
editors disagree with you. But, I give you the benefit of the doubt. I
listened to both those MP3's you mentioned again tonight. The "Sweet
Home Chicago" (the first one, the short one) was downloaded by most
everyone in the writing group I participate in and they got a big kick
out of it. One girl whose husband listens to some blues show on the
radio on Friday nights thought that's what his wife was listening to
when she was playing my MP3. Why should I listen to you, Max? One of
the responses to that song is published on my Lycos page. That was my
very first MP3, the recording quality totally sucks, but the people
liked it, so there it stays; it's nothing fancy. I know I can do it
better, but since it works, I don't fix it.
You won't hear all kind of show-offy Hendrix-style pyro-technics in my
playing; you'll never see me play a guitar behind my back, or with my
teeth, you won't see me wearing it with a long strap as I try to play
my guitar with it hanging down around my knees, you won't catch me dead
trying to play with my long hair hanging down in front of my eyes; and
you'll never on this earth see me take a guitar and smash it against an
amplifier or set it on fire on the stage. I never did that in the
Sixties with my rock band back then and I despised any so
called "musician" who would so much as dream of doing such a thing,
especially when I think of all those years that I could not afford a
decent guitar.
You may say, like, what about Danny Gatton and his routine with the
half full, open bottle of beer and the towell, that whole routine. And
I will have no answer for you, since in my book he could do no wrong.
You can sit there bad-mouthing Jerry, many still do, insulting his
singing, even his chops on the guitar, but the people, man, (I'm not
calling you 'man', Max, but there may be a man within earshot) the
people have made of that man an eternal avatar of music that your short
sighted little biases can't touch. Same goes for Willie. Now that's a
guitarist who knows how to take Jazz and serve it to the people the way
the people like it.
You can say what you will about that track of *How Long Has This Been
Going On*, but the track is there to say what it has to say, and I hate
to say it, but I do believe that track is calling you a liar. I could
be mistaken, but I really don't think so.
Stan Gosnell
<3a4ec12a...@news.sprint.ca>:
Max, you do know the advice about not wrestling with pigs, don't you? ;-)
Mark Smythe
Max Leggett wrote:
> If anyone on this list wants a good laugh, go to Daddio's website
> http://daddio45.tripod.com/index-1.html and check out the sound
> clips. I downloaded How Long Has This Been Going On, and Sweet Home
> Chicago. Priceless, just priceless.
>
Well I dont know if you got something against "Daddio" or not but it is
wrong to try and publicly humiliate people. No matter what they do. Get
a clue
>
> And Daddio, if you want to hear some reall music, here are some
> websites by some people on this list:
> http://webhome.idirect.com/~joegold/
> http://onestopjazz.com/kvansant/flash-index.html
> http://www.jackzucker.com/music/index.htm
> http://www.jeffgower.com/
> http://www.jimmybruno.com/
> http://www.invisiblemusicrecords.com/Resources/Amphora.html
>
I have never heard of any of these people and I dont think they are any
better than daddio. Are you on this list Max? I would like to check out
your music. Let the RMMP know where to find your music so everyone can
check it out. The internet is a great way to share music without having
to pay a dime so why insult or make laughter of someone's posting of
music. I just dont get it. the only thing I would say to Daddio is maybe
a little too much phase shift on the ol' geetar but what the heck , at
least he plays something with it.
> This list is by no means exhaustive, Mr Daddio, but before you call
> names, maybe you should listen
>
> And take some guitar lessons, fer the luvva mike. LOL
Ok, I dont know if Daddio called you names but in any case , it does no
good to tell people they should laugh at someone just because he/she
doesnt meet your standards. I appreciate all the people who post their
music to share. Sometimes ridiculous, sometimes beautiful. Its all good.
Mark
Max Leggett
>>
>> Daddio - you're a piece of shit as a musician and a human being. You
>> can't write, you can't play, and you certainly can't sing. Why don't
>> you do the world a favour and just fuck right off.
>
>ROTFLMAO! You know, it takes a hell of a lot more than just "bad
>music" to generate a rabid opinion like that. Fortunately, the music
>speaks for itself,
It does indeed, Wussio. Shallow, trite,and incompetent.
Max Leggett
>wrong to try and publicly humiliate people. No matter what they do. Get
>a clue
browbeat people on this list since his first post. Get your own clue,
sunshine.
>> And Daddio, if you want to hear some reall music, here are some
>> websites by some people on this list:
>> http://webhome.idirect.com/~joegold/
>> http://onestopjazz.com/kvansant/flash-index.html
>> http://www.jackzucker.com/music/index.htm
>> http://www.jeffgower.com/
>> http://www.jimmybruno.com/
>> http://www.invisiblemusicrecords.com/Resources/Amphora.html
>>
>I have never heard of any of these people and I dont think they are any
>better than daddio.
You have never heard of these people? Sonnyboy, these people post to
this list regularly. I got their links from their posts. You don't
think they're better than Wussio? Have you actually listened to any of
these links? Here's a tip - go have a listen.
>so why insult or make laughter of someone's posting of music.
I agree 100%. And if Daddio would stop calling everyone an assshole
and a nazi, and actually listen to other people's music, then he'd be
following the example set by everyone else on this NG.
>Mark
Get a clue, Markie-boy, and listen to some of the music by some of the
people on this list.
Max
RG
>
>You have never heard of these people? Sonnyboy, these people post to
>this list regularly. I got their links from their posts. You don't
Max, this thread is being cross-posted to rec.music.makers.piano and
alt.music.big-band. The "regulars" links you provided are most likely
meaningless to these people. For RMMGJ's sake, killfile it, ignore it
or drop it.
-RG
On Sun, 31 Dec 2000 17:08:26 GMT, mlegg...@sprint.ca (Max Leggett)
wrote:
Daddio
Moonray Project, my man.
I see by the following responses to your post that Max's perception is
that I've been persecuting all these people ever since I showed around
here. Absurd how that works, isn't it? Here all this time I thought it
was Daddio who was getting the treatment. Ain't that the way it goes?
Tell you what I think: the measure of a righteous heart and a purely
hip intention is the ability to let bygones be bygones; no whining of
recriminations, excuses, explanations or apologies. It requires a
recognition on all sides that each man's pride is always in the way of
his being able to see clearly where the other fellow is coming from.
I'm willing to observe a New Year's resolution to do my best to be a
nice guy who is ready to come back into this cyber-territory in the New
Year bearing no grudges. That's what I can do.
In article <3A4EF558...@home.com>,
Mark Smythe <smyt...@home.com> wrote:
>I just dont get it. the only thing I would say to Daddio is maybe
> a little too much phase shift on the ol' geetar but what the heck , at
> least he plays something with it.
Heh. Granted there's always bit much of something going on in my music
and equipment--I could be a lot fussier, I know, but I'm just not for
some reason. Well, I know the reason and we can go into it at some
later time. I know you can hear it winding away in back in the silent
spaces of some of those tracks.
You could as easily have mentioned that delay effect in the Buddy Holly
song (Raining In My Heart) which for some reason crossed over to the
guitar track when it was intended only for the vocal.
You could have brought up that way too happy go lucky three-sheets-to-
the-wind sloppy lead work in SHC II. Or worse, that out of tune G-
string in *Bird Song* and the other Buddy song, "Well, All Right". From
the looks of it, I finally fixed that last night by readjusting the
tonality on that string after installing a custom bridge that permits
twice as much travel on the saddles. The stock bridge just wouldn't
permit it because of the necessary relative string lengths required by
the super-heavy guage 6th and 5th strings I've got on there for a good
strong, deep bass effect. It's a very *unbalanced* set of strings.
>I appreciate all the people who post their
> music to share. Sometimes ridiculous, sometimes beautiful. Its all
good.
>
> Mark
Right on. And here's a vote for "the ridiculous"! Check out SHC II,
it's good for a laugh, anyway--amazing what two glasses of French wine
can do after a whole month of abstinence. :-)
Swell to hear from you, man.
And...
Happy New Year!
Daddio
http://listeningroom.lycos.com/fan/bands/daddionysus/Band.html
http://daddio45.tripod.com/index-1.html
Max Leggett
>alt.music.big-band. The "regulars" links you provided are most likely
>meaningless to these people. For RMMGJ's sake, killfile it, ignore it
>or drop it.
>
Mark Smythe
Daddio wrote:
> Ah! A ray of light, at last. Glad to see you could make the scene at
> Moonray Project, my man.
>
I caught a couple of the posts about chord progression but I am not sure
what the Moonray Project is . Enlighten me. I sort of came in in the middle
or the end.
>
> I see by the following responses to your post that Max's perception is
> that I've been persecuting all these people ever since I showed around
> here. Absurd how that works, isn't it? Here all this time I thought it
> was Daddio who was getting the treatment. Ain't that the way it goes?
>
Apparently, you and Max must have had some discussion before so I dont know
what Max was intending. My point about this is that we musicians should
definately be sharing and collaborating, not measuring each other.
> Tell you what I think: the measure of a righteous heart and a purely
> hip intention is the ability to let bygones be bygones; no whining of
> recriminations, excuses, explanations or apologies. It requires a
> recognition on all sides that each man's pride is always in the way of
> his being able to see clearly where the other fellow is coming from.
>
It's a shame the world just isnt like that. In cyberspace or elsewhere. In
fact I think cyberspace is worse because you really cant tell if someone is
being truthful, sarcastic, or goofy....well alot of times you can tell if
someone is goofy. But then the question is are they just "trying" to be
goofy and funny or are they really goofy and goofy?
>
> I'm willing to observe a New Year's resolution to do my best to be a
> nice guy who is ready to come back into this cyber-territory in the New
> Year bearing no grudges. That's what I can do.
>
Peace to you and God Bless. My new years resolution is not to cry when the
Vikings loose next saturday.
>
> In article <3A4EF558...@home.com>,
> Mark Smythe <smyt...@home.com> wrote:
>
> >I just dont get it. the only thing I would say to Daddio is maybe
> > a little too much phase shift on the ol' geetar but what the heck , at
> > least he plays something with it.
>
> Heh. Granted there's always bit much of something going on in my music
> and equipment--I could be a lot fussier, I know, but I'm just not for
> some reason. Well, I know the reason and we can go into it at some
> later time. I know you can hear it winding away in back in the silent
> spaces of some of those tracks.
>
Actually, I think it says something that you can take what you play and put
it out there as an Mp3. Regardless of any percieved flaws.
>
> You could as easily have mentioned that delay effect in the Buddy Holly
> song (Raining In My Heart) which for some reason crossed over to the
> guitar track when it was intended only for the vocal.
>
> You could have brought up that way too happy go lucky three-sheets-to-
> the-wind sloppy lead work in SHC II. Or worse, that out of tune G-
> string in *Bird Song* and the other Buddy song, "Well, All Right". From
> the looks of it, I finally fixed that last night by readjusting the
> tonality on that string after installing a custom bridge that permits
> twice as much travel on the saddles. The stock bridge just wouldn't
> permit it because of the necessary relative string lengths required by
> the super-heavy guage 6th and 5th strings I've got on there for a good
> strong, deep bass effect. It's a very *unbalanced* set of strings.
>
You are right, I could have mentioned all those things but it looks like you
already know about them anyhow.
>
> >I appreciate all the people who post their
> > music to share. Sometimes ridiculous, sometimes beautiful. Its all
> good.
> >
> > Mark
>
> Right on. And here's a vote for "the ridiculous"! Check out SHC II,
> it's good for a laugh, anyway--amazing what two glasses of French wine
> can do after a whole month of abstinence. :-)
>
I know what you mean. But at least no one got killed or nothing just from
playing buzzed. The world is safer if you stay inside and play when you
drink.
>
> Swell to hear from you, man.
> And...
>
> Happy New Year!
>
> Daddio
>
Likewise
Daddio
Mark Smythe <smyt...@home.com> wrote:
>
>
> Daddio wrote:
>
> > Ah! A ray of light, at last. Glad to see you could make the scene
at
> > Moonray Project, my man.
> >
>
>>I caught a couple of the posts about chord progression but I am not
sure what the Moonray Project is . Enlighten me. I sort of came in in
the middle or the end.<<
Well, so far as the Moonray Controversy goes, here's something that
more or less describes it....
In article <ko515t4ttji37dhmc...@4ax.com>,
Kevin Van Sant <kvan...@pobox.com> wrote:
> On Mon, 01 Jan 2001 02:41:40 GMT, kaetae <kae...@earthlink.net> wrote
> in message <3A4FEE84...@earthlink.net> :
>
> > In real music a 7th#9 chord in unacceptable as it utilizes a Major
>3rd and a minor 3rd in the same chord.
>
> Sometimes you say some strange things PT.
Aside from what someone else stated about Hendrix's *Purple Haze*, in
which application, granted, I too was able to hear what he was
doing 'by ear' long before I knew the chord by name, and I recognized
it from having bumped into it on my own hook while improvising around
with Big Joe Williamson's *Baby Please Don't Go* in which the chord is
just sort of intuitive from the soprano line, as it is also in Howlin'
Wolf's *Smokestack Lightenin'*.
On the other hand in another lesser known incarnation of the chord as a
C#7#9 in Frankie Valli's *Can't Take My Eyes Off You*, it is not so
intuitive, not so obvious, and I doubt that I could have just figured
it out. It's the chord (played by the horn section) that marks the
change from the verse to the bridge with the lyric, "I love you baby,
and if it's quite all right...." In my book it's one of the tastiest
transitions in jazz-influenced pop music you can find.
The point of the whole discussion was ego. Yes, and my ego's response
to another ego that was in the view of my ego just a bit too snotty to
consider another ego's point of view as the response came in the form
of something like, "Oh, well that's just all too analytical." My reply
was to suggest it was a good thing that our NASA scientists weren't
taking that view so far as getting the Apollo project from the earth to
the moon--as if all that necessary calculus was "just too analytical."
Sure, there is a point when analysis can go overboard, but there is
also a point at which charging that a discussion is "too analytical" is
either lazy-minded or it's a way of simply refusing to hear another
person's view on something; a possessive tactic of keeping one's own
analysis in a dominant position. I've seen that ploy used all too often
and see no reason not to expose it for what it is.
When that ploy has its day it works toward a dumbing down of human
discourse so that anything with the least hint of brainwork connected
to it becomes just all too sort of socially incorrect. You let that
attitude hold sway and what you get is what we've got: the contemporary
culture of the under-achiever mentality, the tendency to brand earnest
students as "over-achievers", the stupid result that stupid people rule
and smart people are stuck with the "Nerd" or "Geek" label. I see no
reason in the world not to kick that culture in the bum every chance I
get, as anyone else with the least respect for intelligence and
learning has a duty to do; either you stand up for what's right and
intelligent, or what's stupid and wrong takes over, and no hip person
has the right to let that happen.
To see the result of what things are like when way too uncool stupidity
begins to take the reins of a culture, rent the video "Gummo". I saw
that last night and I realized finally how the internet has placed me
in contact with a lot of those Xenia-ites out there. Oh, they may not
be ignorant and retarded and totally glue-sniffed in the brain to that
extreme, but by the extreme one can see the overall effect of a no-
holds-barred pop culture on the minds of people who have nothing better
by which to set their sites--I meant "sights".
Growing up in the 50's even if a kid didn't have some moral guidance
coming from his own home, the culture itself was there to stand as a
stern parent to show a kid what was vice and what was not. Now the
culture is just as permissive, promiscuous and vice-ridden as the worst
parents. Think of a kid with a couple of bums for parents growing up
in a culture which offers him nothing in the way of a notion of what is
violent, tasteless or obscene. He grows up with a hippety-hopped up
mentality; a music-free braindead, violent, hateful taste in the sounds
he wants to have around him in which there is nothing but hate-based,
sexually perverse talk; people talking instead of singing? Do you think
that kid will be able to figure out by ear what the moral equivalent of
a C#7#9 chord is?
I don't think so. Things have been dumbed down enough in this totally
decadent, corrupt, diseased insane culture, and it's time for people
with any respect for love and light to take a stand--no matter how much
flak comes in from those to whom standards, taste, brains and a little
personal humility mean nothing. I make a lot of enemies due to the
attitude I express, it goes with the territory. But there is a limit to
being Mr. Niceguy when it comes to becoming a traitor to light and love
and what's really nice and cool and hip.
I got my Lovelight, my Moonray turned on and I'm leavin' it on.
> > I'm willing to observe a New Year's resolution to do my best to be a
> > nice guy who is ready to come back into this cyber-territory in the
> > New
> > Year bearing no grudges. That's what I can do.
Whoops! I cut Mark's "God Bless". Sorry. Same to you man, and to
everyone else, whether they think they can use it or not :-)
--==--
Jervis http://daddio45.tripod.com/index-1.html
--==--
Mark Smythe
Daddio wrote:
> In article <3A4FE3D8...@home.com>,
> Mark Smythe <smyt...@home.com> wrote:
> >
> >
> > Daddio wrote:
> >
> > > Ah! A ray of light, at last. Glad to see you could make the scene
> at
> > > Moonray Project, my man.
> > >
> >
> >>I caught a couple of the posts about chord progression but I am not
> sure what the Moonray Project is . Enlighten me. I sort of came in in
> the middle or the end.<<
>
> Well, so far as the Moonray Controversy goes, here's something that
> more or less describes it....
>
> In article <ko515t4ttji37dhmc...@4ax.com>,
> Kevin Van Sant <kvan...@pobox.com> wrote:
> > On Mon, 01 Jan 2001 02:41:40 GMT, kaetae <kae...@earthlink.net> wrote
> > in message <3A4FEE84...@earthlink.net> :
> >
> > > In real music a 7th#9 chord in unacceptable as it utilizes a Major
> >3rd and a minor 3rd in the same chord.
> >
> > Sometimes you say some strange things PT.
>
It depends on how you voice this chord. If you do it right , it can have a
marvelous stinky dissonance that can be achieved by no other chord but if
you play it all with the notes voiced right next to each other it could
sound like crap. Also this chord is much better used as a percussive
embellishment rather than a melodic embellishment IMHO. I dont know what
"real" music is but I did once have a jazz teacher that said the same thing
about minor 3rds and major 3rds. But then he promptly showed me how to do
this chord. all I could gather is that it is theoretically unacceptable but
in real life in real jam sessions it could be ok if used the right way.
>
> Aside from what someone else stated about Hendrix's *Purple Haze*, in
> which application, granted, I too was able to hear what he was
> doing 'by ear' long before I knew the chord by name, and I recognized
> it from having bumped into it on my own hook while improvising around
> with Big Joe Williamson's *Baby Please Don't Go* in which the chord is
> just sort of intuitive from the soprano line, as it is also in Howlin'
> Wolf's *Smokestack Lightenin'*.
>
The 7th#9 has been used in many songs but mostly as a percussive twist.
when you listen to purple haze that chord is a rhythmic type of chop. Ya
know.....dun DUN dun DUN na na na na. The big "DUN"s are the 7th#9. but
if you notice this chord has nothing to do with the melody
> On the other hand in another lesser known incarnation of the chord as a
> C#7#9 in Frankie Valli's *Can't Take My Eyes Off You*, it is not so
> intuitive, not so obvious, and I doubt that I could have just figured
> it out. It's the chord (played by the horn section) that marks the
> change from the verse to the bridge with the lyric, "I love you baby,
> and if it's quite all right...." In my book it's one of the tastiest
> transitions in jazz-influenced pop music you can find.
>
C#7#9 doesnt really break as many rules since it is using only notes of the
C Major scale. In this song I think C7#9 sounds like a very wrong note.
C7#9 would be more for banging where the C#7#9 would be more of a sweet
sound that could be used for melody.
>
> The point of the whole discussion was ego. Yes, and my ego's response
> to another ego that was in the view of my ego just a bit too snotty to
> consider another ego's point of view as the response came in the form
> of something like, "Oh, well that's just all too analytical." My reply
> was to suggest it was a good thing that our NASA scientists weren't
> taking that view so far as getting the Apollo project from the earth to
> the moon--as if all that necessary calculus was "just too analytical."
>
Its all about balancing between rocket science and soul. I learned theory
when I was young and it helped me to understand what the music was "doing"
or at least what I was doing. By knowing this I learned to understand the
roadmap but I will also say that heart and soul is what music is all about.
Different people find different ways to get there. I used to disrespect
guitarists when I was young because it seemed they didnt know how to read or
analyze music. but as I got more experienced I realized that the beauty of
playing guitar is the fact you can bend strings. I know that sounds weird
but I appreciate a good guitar solo and I listen to the physical down to
earth aspects rather than if the person knows proper theory. But at the same
time, knowing theory never hurt any rocket scientist or guitarist.
>
> Sure, there is a point when analysis can go overboard, but there is
> also a point at which charging that a discussion is "too analytical" is
> either lazy-minded or it's a way of simply refusing to hear another
> person's view on something; a possessive tactic of keeping one's own
> analysis in a dominant position. I've seen that ploy used all too often
> and see no reason not to expose it for what it is.
>
I have jammed with guitarists that would actually get mad if I said "hey,
try a 9th instead of a 7th" They would say "hey, dont pull that theory
shit on me" I only wished I could have said "hey do that chord where your
fingers are like this" but unfortunatley I only know basic open chords
on guitar. But my point is that I agree, that it does no good to prove you
know more. I mean I knew theoretically what I was asking but I had no idea
how to actually do it on guitar. Heck for all I know maybe a 9th is very
difficult on guitar . I'm not knocking guitarists in anyway. I use that as
an example because I play mostly rock or RB which doesnt fly without guitars
so I have jammed with many.
>
> When that ploy has its day it works toward a dumbing down of human
> discourse so that anything with the least hint of brainwork connected
> to it becomes just all too sort of socially incorrect. You let that
> attitude hold sway and what you get is what we've got: the contemporary
> culture of the under-achiever mentality, the tendency to brand earnest
> students as "over-achievers", the stupid result that stupid people rule
> and smart people are stuck with the "Nerd" or "Geek" label. I see no
> reason in the world not to kick that culture in the bum every chance I
> get, as anyone else with the least respect for intelligence and
> learning has a duty to do; either you stand up for what's right and
> intelligent, or what's stupid and wrong takes over, and no hip person
> has the right to let that happen.
>
I had that problem when I was a teenager. I was a nerdy geek who played
piano and had a 4.0 Gpa so I "balanced" that by playing football, but I
didnt want to be considered a "jock" so I also smoked weed and drank beer so
I could be part of the "In Crowd". Today , I am a geek who plays piano and
is proud to have people say I'm a geek who plays piano. But when I go out
and play in a club, all the theories give way to the quest for the musical
"zone" that cannot be had by any other means than playing from the heart and
soul.
> To see the result of what things are like when way too uncool stupidity
> begins to take the reins of a culture, rent the video "Gummo". I saw
> that last night and I realized finally how the internet has placed me
> in contact with a lot of those Xenia-ites out there. Oh, they may not
> be ignorant and retarded and totally glue-sniffed in the brain to that
> extreme, but by the extreme one can see the overall effect of a no-
>
Or they could be glue-sniffers. I have seen many posts from people I suspect
to be sniffers.
> olds-barred pop culture on the minds of people who have nothing better
> by which to set their sites--I meant "sights".
>
> Growing up in the 50's even if a kid didn't have some moral guidance
> coming from his own home, the culture itself was there to stand as a
> stern parent to show a kid what was vice and what was not. Now the
> culture is just as permissive, promiscuous and vice-ridden as the worst
> parents. Think of a kid with a couple of bums for parents growing up
> in a culture which offers him nothing in the way of a notion of what is
> violent, tasteless or obscene. He grows up with a hippety-hopped up
> mentality; a music-free braindead, violent, hateful taste in the sounds
> he wants to have around him in which there is nothing but hate-based,
> sexually perverse talk; people talking instead of singing? Do you think
> that kid will be able to figure out by ear what the moral equivalent of
> a C#7#9 chord is?
>
I would much rather my daughter date a guy who would play C7#9. The other
C#7#9 is too wimpy....too "lazy-cocktail". I would be worried if he said
"I'll have her home by ten" and then play C#7#9.
>
> I don't think so. Things have been dumbed down enough in this totally
> decadent, corrupt, diseased insane culture, and it's time for people
> with any respect for love and light to take a stand--no matter how much
> flak comes in from those to whom standards, taste, brains and a little
> personal humility mean nothing. I make a lot of enemies due to the
> attitude I express, it goes with the territory. But there is a limit to
> being Mr. Niceguy when it comes to becoming a traitor to light and love
> and what's really nice and cool and hip.
>
I agree things have been dumbed down and I am happy and proud to report that
I did not see one minute of the TV "Survivor" show. Television is the
ultimate in dumbed down intelligence. That is what I like about newsgroups
on this internet. People are trying to say something to each other instead
of watching TV .
> I got my Lovelight, my Moonray turned on and I'm leavin' it on.
>
Carry on and God Bless
>
> > > I'm willing to observe a New Year's resolution to do my best to be a
> > > nice guy who is ready to come back into this cyber-territory in the
> > > New
> > > Year bearing no grudges. That's what I can do.
>
> Whoops! I cut Mark's "God Bless". Sorry. Same to you man, and to
> everyone else, whether they think they can use it or not :-)
>
That is ok, God will bless even if you accidentally snipped him.
Kevin Van Sant
I have a suggestion,
Why don't you guys take the jazz guitar newsgroup off the cross
posting list for this ridiculous thread.
Thanks.
_________________________________________
Kevin Van Sant
jazz guitar
http://www.onestopjazz.com/kvansant
to buy my CDs, listen to sound clips, and get more info.
http://www.onestopjazz.com
for a comprehensive index of internet jazz resources
Mark smythe
>
>
> C#7#9 doesnt really break as many rules since it is using only notes of the
> C Major scale. In this song I think C7#9 sounds like a very wrong note.
> C7#9 would be more for banging where the C#7#9 would be more of a sweet
> sound that could be used for melody.
>
>
I apoligize for my very big goof, I was thinking of the wrong chord when I made
this statement. The #9 makes this very dissonant. I was thinking of a natural
9th. All other statements by me regarding this chord are irrelevant. Theory
can be dangerous
Daddio
>
> Why don't you guys take the jazz guitar newsgroup off the cross
> posting list for this ridiculous thread.
>
> Thanks.
Look here Mr. Snotty-Face,
Why don't you just take your jive, square-minded, cliquey attitude and
stick it where your group-mind braindead attitude can shine in the dark
of the moon.
In other words...
Bugger off, nerd.
You really gotta wonder just who these dweebs think they are--owners of
Usenet maybe? Uh, no. Big Brother's Ministry of Truth in charge of
newsgroup censorship? Oh, yes. Methinks they see the power structure
here getting some cracks in it and that's got 'em nervous; these
woosies thought they were running this show here? Well, here's news:
they ain't. Nobody is running nothin'.
If somebody's too square to dig the action in this thread, like I say...
Get round,
or get on down the way.
Nobody needs your action,
Around the Moonray Project,
Jack, so trundle your jive
back to town
and just beat it on down the line.
Max Leggett
opinion of yourself. I've heard your sound clips, and to call them
egregiously trite would be generous. Kevin Van Sant, on the other
hand, is a very talented musician. You might want to check out his web
site. So why don't you take the jazz guitar newsgroup off the posting
list for this ridiculous thread?
Mark smythe
I dont know who started this thread but I figured since we are
discussing chords it would be relevant to the guitar group. When I
reply, I dont edit which group to send it back to because I am not sure
if the person I reply to reads the piano group or not. Cant you just
filter out the thread if you dont want to read it? Something tells me
that this thread has been embattled before I jumped in.
Mark
Kevin Van Sant
in message <92t5pf$906$1...@nnrp1.deja.com> :
>You really gotta wonder just who these dweebs think they are--owners of
>Usenet maybe?
No, just the regular participants and contributors to the jazz guitar
group. If you ever take the time to read through a few posts on our
group you'll notice that we generally stick to discussing jazz guitar
and related topics. There are something like 80,000 Usenet
newsgroups, I'm sure that in one of them you will find an appropriate
forum for your rants, rmmgj is clearly not the one though.
If, on the other hand, you sincerely want some help understanding the
concept of a dom7#9 chord, come back by and I'm sure you'll find the
members of this group very helpful.
Thomas F Brown
This thread is now 11 days old. I could have learned
a whole CD's worth of tunes in that time. What else
is there to say about Moonray?
In article <3A521C68...@home.com>,
Ulf Åbjörnsson
words?
I happen to agree with Kevin that this Moonray thread has been going on far
too long on the big band ng.
Ulf
Daddio skrev ...
> Kevin Van Sant wrote:
> > I have a suggestion,
> > Why don't you guys take the jazz guitar newsgroup off the cross
> > posting list for this ridiculous thread.
> >
> Look here Mr. Snotty-Face,
> ...your jive, square-minded, cliquey attitude and
> stick it where your group-mind braindead attitude...
> ... nerd.
Daddio
Come off it.
What's the matter with you man? Why are you backing down and whining
in the face of all this intolerant jive? Stand up and fight! They have
no business poking their noses into this thread unless they have an
interest in helping to further the work on this tune. The Project is
nowhere near over, and it is not limited to just one group. These nosy,
noisy b.s. nerds remind me of a goddam bourgeois neighborhood of honky
goyim assholes making a stink about some nice Jewish negro family
moving in.
Never capitulate to the ego trips of such intolerant assholes as
these. Never. Never do it.
If those people want to see an end to this thread, let them read back
through the studies, tackle the problem and solve it. Otherwise they
can piss off. There is work to be done here...
And it ain't over till it's over!
The nerve of this jerk accusing ME of being on an "ego trip", of
thinking so well of myself? Listen to this asshole: Hey! I think as
well of myself as any self-respecting sonofabitch who won't put up with
a lot of mean-spirited shit like you assholes are trying to dish out
against a nice, peaceloving cat: Me.
Absurd bunch of self-loving, self-justifying, pride-blind skunks. They
are wrong, they know they are wrong, and they are going to admit it or
just get the hell out of this thread and stay out of it.
Work is going on here; if you got nothing to add to project. Hey! Bug
out!
Kevin Van Sant
in message <92tu7e$v3o$1...@nnrp1.deja.com> :
>In article <3A521933...@home.com>,
> Mark smythe <smyt...@home.com> wrote:
>>
>> > C#7#9 doesnt really break as many rules since it is using only notes of the
>> > C Major scale. In this song I think C7#9 sounds like a very wrong note.
>> > C7#9 would be more for banging where the C#7#9 would be more of a
>>>sweet sound that could be used for melody.
>> I apoligize for my very big goof, I was thinking of the wrong chord when I made
>> this statement. The #9 makes this very dissonant. I was thinking of a natural
>> 9th. All other statements by me regarding this chord are irrelevant. Theory
>> can be dangerous.
>Come off it.
>
>What's the matter with you man? Why are you backing down and whining
>in the face of all this intolerant jive? Stand up and fight!
Daddio, what a complete moron you are. You are asking him retract
the first intelligent comment made in this thread? His original
statement implied that a C#7#9 was a fundamentally different type of
chord from a C7#9. He noticed his blatant error and tried to correct
himself.
> They have no business poking their noses into this thread unless they have an
>interest in helping to further the work on this tune.
Stupid and hypocritical. What a winning combination, maybe you should
run for president. You bite off the head of anyone who suggests your
rants don't belong in the jazz guitar group, then say that no one in
the group belongs in your thread.
Why then, pray tell, don't you just go away?
Adam Bravo
the main groups I subscribe to and I at least recognize all of the people's
names.
"Thomas F Brown" <tomb...@jhunix.hcf.jhu.edu> wrote in message
news:92tej7$314gru$1...@news.jhu.edu...
JJTKO
>The nerve of this jerk accusing ME of being on an "ego trip", of
>thinking so well of myself? Listen to this asshole: Hey! I think as
>well of myself as any self-respecting sonofabitch who won't put up with
>a lot of mean-spirited shit like you assholes are trying to dish out
>against a nice, peaceloving cat: Me.
>
>Absurd bunch of self-loving, self-justifying, pride-blind skunks. They
>are wrong, they know they are wrong, and they are going to admit it or
>just get the hell out of this thread and stay out of it.
>
>Work is going on here; if you got nothing to add to project. Hey! Bug
>out!
Wipe your mouth.
John Janetatos
Max Leggett
Don't respond to him, just killfile him. He's not interested in music,
he's just a boorish poseur craving attention. Ignore him and he'll go
away.
Daddio
jj...@aol.comREMOVE (JJTKO) wrote:
> Daddio wrote:
> >They are wrong, they know they are wrong, and they are going to
admit it or
> >just get the hell out of this thread and stay out of it.
> >
> >Work is going on here; if you got nothing to add to project. Hey! Bug
> >out!
>
> Wipe your mouth.
>
> John Janetatos
Eat mung.
--
Daddio
mlegg...@sprint.ca (Max Leggett) wrote:
> Y'know, Daddio, for an incompetent hack, you certainly have a high
> opinion of yourself. I've heard your sound clips, and to call them
> egregiously trite would be generous.
Snotty kid's got a right smart mouth for a clueless punk with nothing
of his own to offer in contrast, I'd say. Let's hear an MP3 from Mr
Twaddle-Tongue Max that comes anywhere close to the authentic spirit of
Delta Blues nuance as this new one of mine...
http://listeningroom.lycos.com/fan/bands/daddionysus/Song_20987.html
Then we can talk. Song's title is "When You Got A Good Friend" it's
written by Robert Johnson and has some fine philosophy in it.
I swear, I can't imagine how these people got such a bug up their butts
when all I been doing here is trying to get some chords to a song. Go
figure. Seems to be some kind of power game they playin' but it's too
jive for me to get hip to it. They want you to suck up to their
seniority in the group. I NEVER do that. I always spit on that. Again
I ask, How does a bunch of squares like this ever get into Jazz? There
ought to be a law.
Joey Goldstein
Daddio wrote:
>
> Seems to be some kind of power game they playin' but it's too
> jive for me to get hip to it.
You're the only jive ass motherfucker around here playing any games.
> They want you to suck up to their
> seniority in the group. I NEVER do that. I always spit on that.
No all we want is for you to fuck off.
> Again
> I ask, How does a bunch of squares like this ever get into Jazz?
Squares? "The Moonray Project"? Get a grip.
> There
> ought to be a law.
You try to come off like you're some sort of a rugged individualist
Howard Roarke and you're just an ignorant asshole Henry Miller wanabe
with no clue as to who your betters are. You are surounded by your
betters here. To not recognise this and take advantage of it and respect
it is pure and utter ignorance. We all would have been happy to share
with you what we know and love about music but you have proven that you
do not deserve anything from us at all except to eat our shit. The kind
of ego you flaunt about without having any talent or ability to back it
up is a form of delusional schizophrenia. Get some help you stupid fuck.
You piss your stupid opinions at us and then when we piss our opinions
about you right back in your face you act as if you've been maligned.
Fuck off you stupid self absorbed dink.
--
Regards:
Joey Goldstein
Guitarist/Jazz Recording Artist/Teacher
Home Page: http://webhome.idirect.com/~joegold
Email: <joegold AT idirect DOT com>
Kevin Van Sant
in message <9307f4$rir$1...@nnrp1.deja.com> :
> I can't imagine how these people got such a bug up their butts
>when all I been doing here is trying to get some chords to a song.
That's the *least* of what you've been doing. If that was all you
were doing you would have found the group participants more than
helpful.
Daddio
joegoldATidirectDOTcom wrote:
> The kind
> of ego you flaunt about without having any talent or ability to back
>it up is a form of delusional schizophrenia. Get some help you stupid
>fuck.
Nice talk. ROTFLMAO. Now that you have introduced the subject of
talent and ability, I have listened to your MP3's. I will be kind and
make no comment.
It's pretty clear that what I said has hit the nail right on the sore
thumb here. You want to flaunt what you perceive to be your expertise,
you want to play the big shot with a "newbie". Sorry to unthrone you
like this, and leave you in tears rubbing your butt, but it just can't
be helped.
As to my 'trying' to 'appear' as a "rugged individualist"? Don't be
silly. I never had to try; and 'appearances' are not my bag. What's
really comical about a response like this is the way y'all are so busy
trying to force a man into the position of being a bad guy. Read back
over your reply. It's hysterical, nutty, out of control, you're
shrieking. Get a grip! This is all very funny what you're doing. I'm a
nice, friendly guy when people don't try to run power games on me.
Fact is, I'm sure you don't even know what you're freaking out about.
What is it? My opinion of Joe Pass, Miles and Wes Montgomery?
Actually, I care less. But, you need to think about what you're up to.
It's a pretty weird trip you're on; it's some kind of animal response,
the way a pack reacts to a lobo wolf. Just smile and open the circle.
Or keep up with the howling and yipping. It's all the same to me.
--
Joey Goldstein
Daddio wrote:
>
> In article <3A53B741...@nowhere.net>,
> joegoldATidirectDOTcom wrote:
> > The kind
> > of ego you flaunt about without having any talent or ability to back
> >it up is a form of delusional schizophrenia. Get some help you stupid
> >fuck.
>
> Nice talk. ROTFLMAO. Now that you have introduced the subject of
> talent and ability, I have listened to your MP3's. I will be kind and
> make no comment.
I am well aware of my own abilities and of my own failings as a
musician. You on the other hand are deluded about your own abilities as
a musician. You are also quite confused about how your comments will be
perceived by other human beings if you think that we are should be
accepting you as friendly old Jerv. This is a really big failing in
someone who is trying primarily to be a professional writer. I assume
you are trying to be a writer because your writing is so much better
than your guitar playing although it is even more derivative if that is
possible. You are in no position to comment on my abilities as a
musician because you do not understand where they come from, AT ALL. You
haven't got a clue. You can't even hear the changes to Moonray for God's sake.
> It's pretty clear that what I said has hit the nail right on the sore
> thumb here.
Everything you say hits a nail you stupid asshole. You racist piece of shit.
> You want to flaunt what you perceive to be your expertise,
> you want to play the big shot with a "newbie". Sorry to unthrone you
> like this, and leave you in tears rubbing your butt, but it just can't
> be helped.
It's not just me. 95% of the people who regularly post here know 300%
more about music than you do. You could choose to respect that and try
and learn something while you're here. Music's not like writing, my
friend. A cocky attitude ensures that you will never learn anything.
It's easy to see how you got to be 55 years old and can't hear the
changes to Moonray.
> As to my 'trying' to 'appear' as a "rugged individualist"? Don't be
> silly. I never had to try; and 'appearances' are not my bag.
Again you are deluding yourself you pitiful little pussy.
> What's
> really comical about a response like this is the way y'all are so busy
> trying to force a man into the position of being a bad guy.
ROTFSMBALOL
> Read back
> over your reply. It's hysterical, nutty, out of control, you're
> shrieking. Get a grip!
I suggest that you do the same. The only way I have gotten you to appear
to calm down has been by shrieking at you louder than you have been
shrieking at us. I've had to use your own methods to get through to you.
And I'm badder than you, you little pussy, so I've won. Now go away.
> This is all very funny what you're doing.
I'm glad you get the joke. At least you get something.
> I'm a
> nice, friendly guy when people don't try to run power games on me.
No you're not. You think you are but you're completely deluded.
> Fact is, I'm sure you don't even know what you're freaking out about.
I'm freaking out about you insulting my Jewishness without even
understanding the references to Godwin's Law that I was making. Godwin's
Law is a joke you stupid ignorant motherfucker. You come here not
understanding anything that anyone is saying to you and then insult the
hell of them spouting all your Ayn Rand Objectivist bullshit like your
opinion is the only one that matters, well my opinion matters more than
yours does ... so Fuck Off you little dweeb. I can out Jerv you any
fucking day. You're a pitiful little joke with no balls.
> What is it? My opinion of Joe Pass, Miles and Wes Montgomery?
> Actually, I care less.
You know less.
> But, you need to think about what you're up to.
> It's a pretty weird trip you're on; it's some kind of animal response,
I'm just trying to act as much like you as I can.
> the way a pack reacts to a lobo wolf.
Los Lobos? Now there's some real non conformist stuff.
> Just smile and open the circle.
Too late for that.
> Or keep up with the howling and yipping. It's all the same to me.
It's all the same as you. How's it feel looking into the mirror? Check
any of my other posts and see how I usually talk.
Joey Goldstein
So don't any of you other guys mess wit' me neither or ya see what
you'll get!
Joe Finn
> Gee that was fun.
>
> So don't any of you other guys mess wit' me neither or ya see what
> you'll get!
I'm convinced. .....joe
-----= Posted via Newsfeeds.Com, Uncensored Usenet News =-----
http://www.newsfeeds.com - The #1 Newsgroup Service in the World!
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Daddio
> in message <9307f4$rir$1...@nnrp1.deja.com> :
>
> > I can't imagine how these people got such a bug up their butts
> >when all I been doing here is trying to get some chords to a song.
>
> That's the *least* of what you've been doing. If that was all you
> were doing you would have found the group participants more than
> helpful.
Absolute bull. I'll show you where the Moonray Project was before the
discussion was interrupted with all this adolescent, jive, ingroup
nonsense from your jazz guitar group. If you have a comment to make on
it, that is what it's been waiting for instead of all this other fol-de-
rol. This thread is a multi-group, cross-posted, ongoing project, it
is not an ego-kissing, politically correct, kiss-ass project. It is a
puzzle to be worked out. I'm NOT asking for "help". I'm putting this
project out as a challenge to a musician's ability to intuit just what
the changes in this arrangement might be. This is an exercise in
analysis and theory.
People who participate download the MP3 from my Lycos site, listen to
the song, play along with it, figure out the changes, if they can. Can
you?
That's the subject, the project, the challenge under discussion here.
People can jump in and join the challenge, be friendly to the
participants, to me a friendly guy, stay off stupid ego trips and jive
nonsense about "getting too analytical", any kind of counter-productive
stupid, disingenuous, self-aggrandizing ego-sucked human tricks like
that or what? They can get the hell out of this thread and show their
jive, ugly, hateful, ravenous, rabid, slavering faces to me no more,
unless they like getting those faces full of spit, 'cause I got plenty
to serve as many faces as may like a taste of it. Or, I got the kisses
and pats on the back and plenty of those for them as deservess 'em.
I already abandoned the first thread due to this continuing
horsemanure, but I'm drawing the line here. Any more of this perverted
damned nonsense will be kicked in the face so hard you bastards will
wonder what hit you, and I don't mean maybe. I am either the nicest or
the meanest sonofabitch that ever hit usenet as many know, and it all
depends on how nice or mean you are. You want nice, you get nice, you
want mean, hey baby I love to fight as much as I love to kiss. Either
way is your choice. It's a big choice because you need the balls to
stand against the hostilities of your pals. You got to be a "rugged
individualist" like me who NEVER cares what others think or want or
desire from me. You have to be hostile to Daddio because that's the
group thing to do. You can't go against that. You got to raise your
arm and say Sieg Heil.
But, not me. Nobody calls my shots.
So don't try to BS me like that. Here's the project where it was left
hanging by you bastards. Mine was the last contribution....
--
As to the other Mystery Section, that vocal bridge...
We were talking about the first verse of the vocal where at the end it
breaks from the Dm7/gm7/A7 pattern for this modulated bridge...
"Once we knew the joy,
Of girl in love with boy,
But he made a toy,
Of romance"
Tonight, suddenly, I thought of another song that it seems to me goes
through a similar harmonic passage, a Gershwin number I first heard
performed by Benny Goodman with Peggy Lee, "How Long Has This Been
Going On?"
The song is in the key of F but it starts with a dominant tonality and
resolves on the tonic. Then for that bridge (similar, it seems to
this) it merely goes to the subdominant for a modulation to the key of
B-flat, going back and forth between Bb and Eb until it resolves back
through a series of Am and Dm chords to the dominant tonality of C
major, C diminished and augmented chords.
Looking back at Moonray, I see the same thing happening, how it starts
in G minor and then moves to the dominant for the verse, I'd suggest
that we're looking at something similar even though the 'dominant'
section is D minor rather than major--or is it? I find that I can comp
a D9/Gm7/A7 that sheds just a...heh-heh "Moonray" of brightness that is
kind of pleasing against the minor tone of the orchestration. You get a
lot of blues that are running minor scale bass and soprano lines over
guitar driven major chord tonalities that use the minor seventh added
to the triad, or the ninth.
Now, coming to this bridge...
"Once we knew the joy,
Of girl in love with boy,
But he made a toy,
Of romance"
I'm playing this, following the pattern of the Gershwin song by
presuming that this arrangement is actually in G minor so that this
subdominant bridge modulation is to the key of C major...
C9 F9
"Once we knew the joy,
C9 F9
Of girl in love with boy,
Bm7 Em7
But he made a toy,
A7
Of romance"
This latter Bm7-Em7-A7 is the "cadence" that Max K. was so hot about,
and with good reason, even typical and common a hook as it is; that
sho' don't detract from the groove.
You can download my take on the Gershwin song, as performed on my old,
no longer extant Two-Ton Tessie of a Fender acoustic/piezo electric
single cutaway flat-top, yeah you can get that, if you want it from
Jerv-Zine II, my download site by clicking the "MP3", the "Jerv-Zine
II" or the "Mirror-Site" link at...
http://daddio45.tripod.com/index-1.html
And thanks Dan for lending a hand!
--
John/Jerv
(Daddio)
AKA
"Daddionysus"
"Uncle John Smokestack-Lighteningstein"
(A nice 'Jewish' name, wouldn't you say?)
Adam Bravo
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3A53D37F...@nowhere.net...
> > What's
> > really comical about a response like this is the way y'all are so busy
> > trying to force a man into the position of being a bad guy.
>
> ROTFSMBALOL
Whoa! HDJIEAIHADIKLJ! What's that?
Joey Goldstein
Rolling on the floor scratching my balls and laughing out loud.
Joey Goldstein
Daddio wrote:
>
>
> I already abandoned the first thread due to this continuing
> horsemanure, but I'm drawing the line here. Any more of this perverted
> damned nonsense will be kicked in the face so hard you bastards will
> wonder what hit you, and I don't mean maybe. I am either the nicest or
> the meanest sonofabitch that ever hit usenet as many know, and it all
> depends on how nice or mean you are. You want nice, you get nice, you
> want mean, hey baby I love to fight as much as I love to kiss. Either
> way is your choice. It's a big choice because you need the balls to
> stand against the hostilities of your pals. You got to be a "rugged
> individualist" like me who NEVER cares what others think or want or
> desire from me. You have to be hostile to Daddio because that's the
> group thing to do. You can't go against that. You got to raise your
> arm and say Sieg Heil.
You're nothing but a red neck, racist pussy with no balls no brains and
no ears.
> But, not me. Nobody calls my shots.
No, you're too stupid to know when you're out witted, out toughed, out
smarted, out ear trained, and out Jerved. It is so easy to be you Jerv.
Just act like an asshole and say the first reactionary thing that pops
into your mind. Piece of cake ... or should I say piece of shit.
> So don't try to BS me like that. Here's the project where it was left
> hanging by you bastards. Mine was the last contribution....
Figure it out yourself you pathetic little pissant.
Joey Goldstein
Joey Goldstein wrote:
>
>
> Figure it out yourself you pathetic little pissant.
Or should should I have said "You perpetual poster boy for Pampers?"
amoli...@visi-dot-com.com
Joey Goldstein <joegoldATidirectDOTcom> wrote:
>
>
>Daddio wrote:
Can all of you twits keep this puerile pissing contest out of
newsgroups that don't care?
Thanks.
amoli...@visi-dot-com.com
>In article <feg75t8f7m9okv0h6...@4ax.com>,
> Kevin Van Sant <kvan...@pobox.com> wrote:
>> On Wed, 03 Jan 2001 22:01:14 GMT, Daddio <dadd...@yifan.net> wrote
>> in message <9307f4$rir$1...@nnrp1.deja.com> :
>>
>> > I can't imagine how these people got such a bug up their butts
>> >when all I been doing here is trying to get some chords to a song.
>>
>> That's the *least* of what you've been doing. If that was all you
>> were doing you would have found the group participants more than
>> helpful.
>
>Absolute bull. I'll show you where the Moonray Project was before the
If you weren't a git more interested in flaming than in
actually working on your little project, you'd ignore the critics.
Please move this out of here. Thanks!
Daddio
joegoldATidirectDOTcom wrote:
>
>
> Joey Goldstein wrote:
> >
> >
> > Figure it out yourself you pathetic little pissant.
>
> Or should should I have said "You perpetual poster boy for Pampers?"
First of all: I am Jewish. Not only am I Jewish but I played guitar
and sang for a Black Baptist pastor at fundraisers for the Civil Rights
Freedom Riders in the early 60's. Do you see now how irresponsible such
slander as yours is? It blows your credibility for anything else you
may have to say in my regard. I see that there is nothing you won't
stoop to, as you leave no filthy stone unturned even resorting to the
sleazy tactic of calling a person's mental stability into question.
That is always the first resort of the brainwashed mentality which
cannot perceive a difference between agreement and dissent. With your
sort it's agreement or insanity and dissent is insanity. That is the
result of the PC terrorism under which your generation came to age.
You don't know that because that's how well it works. Further, I've
never known a Canadian who knew the first damn thing about freedom of
thought, free speech and do you know why? Because you bastards never
had to fight, never had to lift a finger to gain your freedom, we did
it all for you, for you and the rest of the world--except France and
India. No wonder the French Canadians can't stand to be anywhere near
the likes of you. Hitler used the kind of stigma you would attempt to
smear to great effect against his political enemies; just as PC
poopsies like you do it these days
As to your second lie of slander about the quality of my music, my
ability, my knowledge of music, I need say nothing since those who have
heard the good tracks know better, as also they know you lie and lie
and lie.
Granted, not all of my music is top notch. Some of it is not, like the
job I did on Cruddup's "Hand Me Down My Walking Cane", and SHCII (which
was done while I was slightly plastered)--both of which are being
removed from the site. I am a jazz-influenced Blues/Rock/Country
musician, I am not a jazz guitarist as such. I am learning jazz,
studing bossa nova, Jobim and Gilberto, Bola Sete and listening like
worshipper in a temple to the music of Django Rheinhardt. If you're
judging my playing on the basis of pure jazz guitar, which you are,
it's just another way to tell a lie. First and foremost I am a rock
musician.
You are a liar, a nasty little lying putz. Worse, you are a goy in
Jewish clothing--the Holocaust taught you nothing about how to treat
people; how to side in with the minority, the fall guy. Somebody
should give you back your foreskin and pull it down over your head; and
they should do it soon before somebody does something rash like
snapping another picture of you for your website. That one you got on
there now could short circuit a computer monitor. I mean to tell you.
As to the rest of your ranting, and carrying on, all your ugly insults,
your references to my physical person? Hey, like, dig it squarehead:
People who live in glass houses?
I will say this: I've heard your music, it's altogether to my ear as
ugly, joyless and dark as the personality of the person who produces
it. I wouldn't cross the street to hear it, in fact, I would cross the
street in order not to hear it. Taste is taste. Some people probably
dig it. Not me. Having heard what you think of as music, I can
certainly see why you wouldn't like mine. It stands to reason. Of
course, it sounds like you got the chops to play something hipper,
sweeter, but with that personality you got it could take another three
lifetimes.
Now get your funky butt out of this thread, you stinkin' up the place.
--
Daddio
Eat mung, dung-head, and keep your stinking clicker off this thread.
You hear me? This thread is none of your business. Others leave it
alone, so can you. You are an intolerant ass. You dare tell ME to
ignore the flames? Take your own advice: Ignore this thread. This
thread is still relevant to this group, so long as dork-noses like you
stay out of it. Savvy? Get your grimy little fingers out of the soup.
Get it?
That's a boy.
Now just be off on your merry way.
Thank you.
Twaddle-headed nincumpoop.
--
IvanDRodriguez
>
>So don't any of you other guys mess wit' me neither or ya see what
>you'll get!
Yeah....but what are YOU wearing?
LOL...sorry... it was the only thing I could think of after that last bout of "
when is this ever going to end".......:)
Ivan
IvanDRodriguez
>>
>> Whoa! HDJIEAIHADIKLJ! What's that?
>
>Rolling on the floor scratching my balls and laughing out loud.
>
>--
>Regards:
>Joey Goldstein
just because....I dont know..its instinctive...
Ivan
Joey Goldstein
Daddio wrote:
>
>
> First of all: I am Jewish.
That makes me absolutely ashaned.
> Not only am I Jewish but I played guitar
> and sang for a Black Baptist pastor at fundraisers for the Civil Rights
> Freedom Riders in the early 60's. Do you see now how irresponsible such
> slander as yours is?
Now I see why it took the civil rights movement so long to get any momentum.
> It blows your credibility for anything else you
> may have to say in my regard.
Not at al. Not at all. You've got some sick twisted vision of what it
means to be a Jew my friend. Really fucking warped.
> I see that there is nothing you won't
> stoop to, as you leave no filthy stone unturned even resorting to the
> sleazy tactic of calling a person's mental stability into question.
Hey buddy, you're doing the stooping. But you're really too stupid to
see that aren't you?
> That is always the first resort of the brainwashed mentality which
> cannot perceive a difference between agreement and dissent. With your
> sort it's agreement or insanity and dissent is insanity. That is the
> result of the PC terrorism under which your generation came to age.
The PC terrorism? What's that? The Progressive Conservatives? Have you
figured out yet that I am 47 years old or is the math too much for your
heavy analytical brain? I hope you're not implying that I grew up with
computers because obviously that's not true.
> You don't know that because that's how well it works. Further, I've
> never known a Canadian who knew the first damn thing about freedom of
> thought, free speech and do you know why? Because you bastards never
> had to fight, never had to lift a finger to gain your freedom, we did
> it all for you, for you and the rest of the world--except France and
> India.
We fought you. Twice I believe, and won both times.
> No wonder the French Canadians can't stand to be anywhere near
> the likes of you.
You really are quite the scholar aren't you?
> Hitler used the kind of stigma you would attempt to
> smear to great effect against his political enemies; just as PC
> poopsies like you do it these days
As one Jew to another I'd really appreciate it if you would stop using
Hitler's name as if he's some kind of a hero. You might stop saying Seig
Heil too you dimwit schmendrake. You really are deluded.
> As to your second lie of slander about the quality of my music, my
> ability, my knowledge of music, I need say nothing since those who have
> heard the good tracks know better, as also they know you lie and lie
> and lie.
Look, I don't care about your music. I listened to a couple of bars of
out of tune, out of time Robert Johnson wannabe stuff. You probably have
some MP3s of some stuff that is better than that I would hope,
especially since you've been playing since the 60's. I get my
impressions of your musical prowess from the inane nonsense that you
post about Moonray. You're not even close to hearing any of those
changes. You're a joke. A really bad joke.
> Granted, not all of my music is top notch. Some of it is not, like the
> job I did on Cruddup's "Hand Me Down My Walking Cane", and SHCII (which
> was done while I was slightly plastered)--both of which are being
> removed from the site. I am a jazz-influenced Blues/Rock/Country
> musician, I am not a jazz guitarist as such. I am learning jazz,
> studing bossa nova, Jobim and Gilberto, Bola Sete and listening like
> worshipper in a temple to the music of Django Rheinhardt. If you're
> judging my playing on the basis of pure jazz guitar, which you are,
> it's just another way to tell a lie. First and foremost I am a rock
> musician.
I don't care about your playing. You could be a great player and I'd
still tell to fuck off because of your attitude.
> You are a liar, a nasty little lying putz.
What have I said that is untrue? I may have taken some artistic license
here and there but I don't recall lying. I try not to do that. But you
are lying to yourself if you think you are a musician. You are lying to
yourself if you think that you are somehow a better Jew than me.
> Worse, you are a goy in
> Jewish clothing--the Holocaust taught you nothing about how to treat
> people; how to side in with the minority, the fall guy. Somebody
> should give you back your foreskin and pull it down over your head; and
> they should do it soon before somebody does something rash like
> snapping another picture of you for your website. That one you got on
> there now could short circuit a computer monitor. I mean to tell you.
Yeah I wish I could be more like you. sheesh.
> As to the rest of your ranting, and carrying on, all your ugly insults,
> your references to my physical person?
You're not a person. You're a dweeb.
> Hey, like, dig it squarehead:
> People who live in glass houses?
Yeah. You should think about that Mr. Tin Ear.
> I will say this: I've heard your music, it's altogether to my ear as
> ugly, joyless and dark as the personality of the person who produces
> it. I wouldn't cross the street to hear it, in fact, I would cross the
> street in order not to hear it. Taste is taste.
Your opinion is your opinion. Your taste is your taste. That's fine with
me. I don't much like listening to my stuff either. I love playing it
though. Now the difference between you and me as I see it is that I have
syudied music really seriously for over 30 years now and have been
making a living as a professional guitar player for 25 of those years
and I don't think I'm hot shit in any sense. As a matter of fact I know
I'm not. But you on the other hand have been playing longer than me,
have studied nothing and know nothing and can hardly play anything yet
you think you're fantastic. That's called "delusion" my friend. Some
deluded people you want to be nice to but you're a prick too. So ...
FUCK OFF.
> Some people probably
> dig it.
Yes, thankfully, some do.
> Not me. Having heard what you think of as music, I can
> certainly see why you wouldn't like mine.
I like your music. I just don't like you playing it. I'd rather listen
to my Robert Johnson records. He knows how to do that stuff already. You
just think you do.
> It stands to reason. Of
> course, it sounds like you got the chops to play something hipper,
> sweeter, but with that personality you got it could take another three
> lifetimes.
You have yet to see my real personality. I'm not civil to the likes of you.
> Now get your funky butt out of this thread, you stinkin' up the place.
Have a look at my next post on your little Moonray Project you pathetic
little troll. Salvation may be at hand.
Mark Smythe
Daddio wrote:
> In article <3A521933...@home.com>,
> Mark smythe <smyt...@home.com> wrote:
> >
> >
> > >
> > >
> > > C#7#9 doesnt really break as many rules since it is using only
> notes of the
> > > C Major scale. In this song I think C7#9 sounds like a very wrong
> note.
> > > C7#9 would be more for banging where the C#7#9 would be more of a
> sweet
> > > sound that could be used for melody.
> > >
> > >
> >
> > I apoligize for my very big goof, I was thinking of the wrong chord
> when I made
> > this statement. The #9 makes this very dissonant. I was thinking of a
> natural
> > 9th. All other statements by me regarding this chord are
> irrelevant. Theory
> > can be dangerous.
>
> Come off it.
>
> What's the matter with you man? Why are you backing down and whining
> in the face of all this intolerant jive? Stand up and fight! They have
Hold on a minute. Think. Breath. Relax. Good. I was not backing down from
anything. I played a wrong chord and I went on writing about that wrong
chord as if it was the right chord. The reason I apologized is to anyone
who may have been interested in analyzing these chords. Unfortunatley, I
have not seen one response regarding music or chords in this thread. At
first I responded to you regarding the chord. And now I am sorry for even
thinking about talking about chords on these news groups. Every one of
y'all seem more interested in lame-bashing. I'll go jam somewhere else,
Thank You.
Mark
Joey Goldstein
Daddio wrote:
>
>
Here's the changes to your silly little tune Mr. Analysis. This took me
about a 1/2 hour so there may be some small inconsistencies with the
voicings you hear on the recording but you can be sure that the chord
chart they were working with was something like this. (Some of the Im
voicings were probably improvised, i.e. the chart just may have said Gm, etc.):
Intro (Bass Drums and Piano Tacet)
Gm / / / |Eb9 / Am6 / |
A(no chord) D7/A Eb7/A / |D7/F# Eb7/G D7/A D7/F# |
Clari Verse 1 (band in)
Gm6 / Gm7 / |Cm / D7 D7#5 |Gm6 / Gm7 / |Cm / Cm/Eb D7#5 |
Gm6 / Gm7 Gm6 |Cm6 / D7#5 / |Gm6 / Gm(maj7) Gm6 |Am7b5 / D7 / |
Clari Verse 2
Gm7 Gm6 Gm7 Gm6 |Cm / D7 D7#5 |Gm7 Gm6 Gm7 Gm6 |Cm / Cm/Eb D7#5 |
Gm(maj7) / Gm6 / |Cm / D7 D7#5 |Gm6 / / / |Am7b5 / D7 / |
Transition
Db7 D7 D#7 E7 |Em7 / A7 / |
Vocal verse 1
Dm / / / |Gm6 / A7 A7#5 |Dm6 / / / |Gm6 / A7#5 / |
Dm6 / / / |Gm6 / A7#5 / |Dm6 / / / |Bb7 / A7 / |
Vocal Verse 2
Dm / Dm(maj7) Dm7 |Gm6 / A7#5 / |Dm6 / / / |Gm6 / A7#5 / |
Dm6 / / / |Gm6 / A7#5 / |Dm6 / / / |A7 / Dm6 / |
Vocal Bridge
Gm6 / D7b9 / |Adim7 / D7b9 / |Gm6 / Cm6 |Am7b5 / Cm6 |
E7 / Bdim7 / |E7b9 / E7 / |A7 / Em7/A / |Adim7 / A7 / |
Vocal Verse 3
Dm / / / |Gm6 / A7#5 / |Dm6 / / / |Gm6 / A7#5 / |
Dm6 / / / / |Gm6 / A7#5 / |Dm6 / / / |Cm6 / E7 F7 |
Trumpet Solo Verse
Bbm7 / Bbm6 / |Ebm6 / F7#5 / |Bbm6 / / / |Ebdim7 / F7#5 / |
Bbm6 / / / |Ebdim7 / F7#5 / |Bbm6 / / / |Cm7b5 Cdim7 Bbm6 / |
Clarinet Solo Bridge
Ebm6 / Bb7b9 / |Fdim7 / Bb7b9 / |Ebm6 / Abm6 / |Abm6 Bbm6 Cb6 / |
C7 / Bbm6 / |Gm7b5 / C7b9 / |F7 Gb7 F7 Gb7 |F9 / / Gdim7 Adim7 |
1 2 3 4 &
Tutti
Bbm6 etc.
I'll give you the rest if you promise to go away and never come back
here again.
>
> Now, coming to this bridge...
>
> "Once we knew the joy,
> Of girl in love with boy,
> But he made a toy,
> Of romance"
>
> I'm playing this, following the pattern of the Gershwin song by
> presuming that this arrangement is actually in G minor so that this
> subdominant bridge modulation is to the key of C major...
>
> C9 F9
> "Once we knew the joy,
> C9 F9
> Of girl in love with boy,
> Bm7 Em7
> But he made a toy,
> A7
> Of romance"
Not even close you dweeb.
> This latter Bm7-Em7-A7 is the "cadence" that Max K. was so hot about,
> and with good reason, even typical and common a hook as it is; that
> sho' don't detract from the groove.
No offence against Max but that's not it Mr. Tin Ear.
> You can download my take on the Gershwin song, as performed on my old,
> no longer extant Two-Ton Tessie of a Fender acoustic/piezo electric
> single cutaway flat-top, yeah you can get that, if you want it from
> Jerv-Zine II, my download site by clicking the "MP3", the "Jerv-Zine
> II" or the "Mirror-Site" link at...
Yeah. That'd be great thanks man!
> http://daddio45.tripod.com/index-1.html
>
> And thanks Dan for lending a hand!
I think we need a shovel.
Ulf Åbjörnsson
Joey Goldstein skrev ...
> (censored)
> Joey Goldstein
> Teacher
>
Teacher?!?!? With that kind of language?!?!?!? Must be a guitar teacher?
;-)
Ulf
JustmeŽ
<930te9$edt$1...@nnrp1.deja.com>, and I felt COMPELLED to reply:
> Somebody
> should give you back your foreskin and pull it down over your head; and
> they should do it soon before somebody does something rash like
> snapping another picture of you for your website. That one you got on
> there now could short circuit a computer monitor. I mean to tell you.
>
>
http://listeningroom.lycos.com/img/bands/daddionysus.jpg
Same fella? You be the judge!
--Ginny
"Die Screaming."
--Jonathan Blaque
Daddio
Now, all this is very nice. Those sixths are much more like it.
People in the Piano group were presenting the triads, only. The A7#5
is a welcome addition to replace the darker previous suggestions
received by email that had a flat-9 on there
This section following, the bridge, however is El Sucko. I don't think
there is a nastier sounding chord in the book than that flat-nine. It
may have its use and its purpose as a passing chord in certain
progressions but as it's used here it's strictly from the Dark of the
Moon without a ray of light; same with that Am7b5, another chord which
totally bruises my sensibilities.
>
> Vocal Bridge
>
> Gm6 / D7b9 / |Adim7 / D7b9 / |Gm6 / Cm6 |Am7b5 / Cm6 |
It might well be noted, in eliminating the passing chords you have
identified (all that flat-9 and flat-5 mud) that this movement is
pivoting around two harmonic points, those which you have identified as
Gm6 and Cm6, but as any simple (but totally hip) bluesman such as
myself knows, those two chords are essentially the same--given a
suspended 4th--as C9 and F9. Essentially, you aren't hearing anything
different; you just putting different names on there and packing a
bunch of mud around it. What you are hearing as that flat-9, I am
hearing as a ray of light in that suspended fourth, as according to my
analysis, in analogy, from the Gershwin song. I am hearing that one
moonbeam that you would cloud by your dark interpretation. I am
hearing two simple, sweet chords that fit very nicely: C9 and F9 (or
Gm6sus4 and Cm6sus4).
Now as to this section leading the bridge back to the D minor verse, I
hear none of this...
>
> E7 / Bdim7 / |E7b9 / E7 / |A7 / Em7/A / |Adim7 / A7 / |
I hear that F9 (Cm6sus4)going very sweetly as is clear from the
brightening tone of the orchestration in this part to an Em6 and from
thence to the Bm7, the E7 the A--and the rest as you have it--Adim7, A7
and back to the D minor verse.
>
> Vocal Verse 3
>
> Dm / / / |Gm6 / A7#5 / |Dm6 / / / |Gm6 / A7#5 / |
>
> Dm6 / / / / |Gm6 / A7#5 / |Dm6 / / / |Cm6 / E7 F7 |
>
> Trumpet Solo Verse
>
> Bbm7 / Bbm6 / |Ebm6 / F7#5 / |Bbm6 / / / |Ebdim7 / F7#5 / |
>
> Bbm6 / / / |Ebdim7 / F7#5 / |Bbm6 / / / |Cm7b5 Cdim7 Bbm6 / |
>
> Clarinet Solo Bridge
>
> Ebm6 / Bb7b9 / |Fdim7 / Bb7b9 / |Ebm6 / Abm6 / |Abm6 Bbm6 Cb6 / |
>
> C7 / Bbm6 / |Gm7b5 / C7b9 / |F7 Gb7 F7 Gb7 |F9 / / Gdim7 Adim7 |
>
> 1 2 3 4 &
> Tutti
>
> Bbm6 etc.
>
> I'll give you the rest if you promise to go away and never come back
> here again.
ROTFLMAO! Kish mir in tukhis*. What a complete shmendrick. You wish.
--
*Note to Larry: In respect to your wishes, all swearing henceforth will
be done in Yiddish. What about the Jewish children? No big whoop;
unlike the goyim they don't have the Virgin Mary ears. Jews can handle
it; since, in case you've heard, we've seen worse. Your threatening
violent tones, for example. How nice is that for young ears?
Okay Joey Shlemazlstein, I'm printing this out for further study. You
did a good job considering your limitations as a young forty-something
*pisher*. I suggest you try my changes (see my corrections below) for
the bridge along with the orchestra so you can see that it in fact
works--without all that dark, mucky dissonance. As to your work on the
intro and verse, it looks very nice. You get an "A"--so far as that
goes.
>
> >
> > Now, coming to this bridge...
> >
> > "Once we knew the joy,
> > Of girl in love with boy,
> > But he made a toy,
> > Of romance"
> >
> > I'm playing this, following the pattern of the Gershwin song by
> > presuming that this arrangement is actually in G minor so that this
> > subdominant bridge modulation is to the key of C major...
Here is the section that is corrected from the earlier version I gave.
> >
> > C9 F9
> > "Once we knew the joy,
> > C9 F9
> > Of girl in love with boy,
> > Em6 Bm7
> > But he made a toy,
> > E7 A7 Adim7 A7
> > Of romance"
Joey Goldstein
Daddio wrote:
>
> In article <3A541721...@nowhere.net>,
> joegoldATidirectDOTcom wrote:
> >
> >
> > Daddio wrote:
> > >
> > >
> >
> >
> Now, all this is very nice. Those sixths are much more like it.
> People in the Piano group were presenting the triads, only. The A7#5
> is a welcome addition to replace the darker previous suggestions
> received by email that had a flat-9 on there
It's not a welcome addition you tone deaf fuck. It's what is there.
> This section following, the bridge, however is El Sucko. I don't think
> there is a nastier sounding chord in the book than that flat-nine. It
> may have its use and its purpose as a passing chord in certain
> progressions but as it's used here it's strictly from the Dark of the
> Moon without a ray of light; same with that Am7b5, another chord which
> totally bruises my sensibilities.
Take that up with Artie Shaw. I did not invent his arrangement.
Especially because you can't hear it you are a very weak position to
comment on its musicality.
> >
> > Vocal Bridge
> >
> > Gm6 / D7b9 / |Adim7 / D7b9 / |Gm6 / Cm6 |Am7b5 / Cm6 |
>
> It might well be noted, in eliminating the passing chords
What passing chords? There are no passing chords, Mr. Anal(ysis). There
is a bass line that outlines these chords and that is all. And you
dissed Miles Davis for being unanalytical. What a putz.
> you have
> identified (all that flat-9 and flat-5 mud) that this movement is
> pivoting around two harmonic points, those which you have identified as
> Gm6 and Cm6, but as any simple (but totally hip) bluesman such as
> myself knows, those two chords are essentially the same--
Gm6 and Cm6 are essentially the same? You're beyond belief.
> given a
> suspended 4th--as C9 and F9.
Or do you mean that C9 and Gm6 are essentially the same, and that F9 and
Cm6 are essentially the same? Well that is often true but not in this
case Mr. Intellect. We are in the key of Gm. Gm is the Im chord and Cm
is the IVm chord. These are called "primary" chords and you can't hear
them, Mr. Bluesman. You can't hear I, IV and V chords. You're 55 years
old and you don't even know what they are.
> Essentially, you aren't hearing anything
> different;
I am hearing what is there. I have had to do this work because you are
incapable of it. And now you question it. Question yourself you stupid
ignorant idiot.
> you just putting different names on there and packing a
> bunch of mud around it.
I am naming things correctly but you are too ignorant to understand this.
> What you are hearing as that flat-9, I am
> hearing as a ray of light in that suspended fourth,
What suspended 4th? There is no suspended 4th. If there is then tell me
where it is.
> as according to my
> analysis,
You haven't done an anlysis you idiot. You can't do a harmonic analysis
until you know what the chords are and you can't even hear them. I
haven't done an analysis either. I've just written out a chord chart.
You don't even know what an analysis is, you dweeb.
> in analogy, from the Gershwin song. I am hearing that one
> moonbeam that you would cloud by your dark interpretation.
I am interpreting nothing. I wrote down what is there you tin eared, red
neck fool.
> I am
> hearing two simple, sweet chords that fit very nicely: C9 and F9 (or
> Gm6sus4 and Cm6sus4).
You hear nothing. You know nothing. You understand nothing.
Gm6sus4 = G C D E
It is a chord that does not have a 3rd although a min 3rd would be
implied to an improviser as being a component of a chord-scale for this
chord. It would be pretty unusual to encouter this chord symbol, if ever.
Once again, in the key of G minor Gm6 is a primary, tonic Im chord.
These are not C9 chords. G is in the bass. There are no C's in the bass.
There is no C in the rhythm section voicings and to the best of my
recollection no C's occur prominently in the background writing or in
the melody.
You don't have a clue what you're talking about yet your lips keep moving.
> Now as to this section leading the bridge back to the D minor verse, I
> hear none of this...
>
> >
> > E7 / Bdim7 / |E7b9 / E7 / |A7 / Em7/A / |Adim7 / A7 / |
Well it's there. The 1st E7 is a little cloudy becaue the recording is
poor but it's there all right.
> I hear that F9 (Cm6sus4)going very sweetly as is clear from the
> brightening tone of the orchestration in this part to an Em6 and from
> thence to the Bm7, the E7 the A--
Yeah, well good luck with all of that.
> and the rest as you have it--Adim7, A7
> and back to the D minor verse.
>
> >
> > Vocal Verse 3
> >
> > Dm / / / |Gm6 / A7#5 / |Dm6 / / / |Gm6 / A7#5 / |
> >
> > Dm6 / / / / |Gm6 / A7#5 / |Dm6 / / / |Cm6 / E7 F7 |
> >
> > Trumpet Solo Verse
> >
> > Bbm7 / Bbm6 / |Ebm6 / F7#5 / |Bbm6 / / / |Ebdim7 / F7#5 / |
> >
> > Bbm6 / / / |Ebdim7 / F7#5 / |Bbm6 / / / |Cm7b5 Cdim7 Bbm6 / |
> >
> > Clarinet Solo Bridge
> >
> > Ebm6 / Bb7b9 / |Fdim7 / Bb7b9 / |Ebm6 / Abm6 / |Abm6 Bbm6 Cb6 / |
> >
> > C7 / Bbm6 / |Gm7b5 / C7b9 / |F7 Gb7 F7 Gb7 |F9 / / Gdim7 Adim7 |
> >
> > 1 2 3 4 &
> > Tutti
> >
> > Bbm6 etc.
> >
> > I'll give you the rest if you promise to go away and never come back
> > here again.
>
> ROTFLMAO! Kish mir in tukhis*. What a complete shmendrick. You wish.
Well then you're on your own. You haven't got a chance in Hell of
figuring out the last section even though it is quite similar to the
earlier sections because you have no ears.
> Okay Joey Shlemazlstein, I'm printing this out for further study. You
> did a good job
Fuck off you stupid idiot. I'm ashamed to be associated with the likes
of you in any way shape or form. Keep your little Jewish Yiddishisms to yourself.
> considering your limitations as a young forty-something
> *pisher*. I suggest you try my changes (see my corrections below) for
> the bridge along with the orchestra so you can see that it in fact
> works--
They may "work" but they are not what is actually there you tone deaf
turd. There are all sorts of ways that this tune could be harmonised,
most of them much better than the original. The key changes in this
thing are gross to say the least.
> without all that dark, mucky dissonance.
Take that up with Mr. Shaw.
> As to your work on the
> intro and verse, it looks very nice. You get an "A"--so far as that
> goes.
Fuck off. Go away. You're a prick and you stink as a musician. I've
proven this several times over.
How can you stand yourself? How can you even have the gall to post
anything here ever again?
On the other hand, if you ever decide to tone down your bullshit and act
as a respectful member of this group I'm sure that many of the huge,
gaping, smelly, putrid holes in your musical understanding might find
some remedy here.
William Barkin
-Bill
--
William Barkin - Fine Artist
http://www.bcn.net/~wbarkin
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3A53B741...@nowhere.net...
>
>
> Daddio wrote:
> [snip, it's not worth repeating]
Joey Goldstein
I would also suggest to you that one of the main reasons you can not
hear the chords that I have written out is because you don't know how to
play them and if you do know how to play them then you don't know how to
voice them in the idiomamtic style of this piece.
Yet a few more of your personal failings for the list.
William Barkin
-Bill
--
William Barkin - Fine Artist
http://www.bcn.net/~wbarkin
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3A53D564...@nowhere.net...
William Barkin
in such a short time...
I gotta go walk the dog...
-Bill
--
William Barkin - Fine Artist
http://www.bcn.net/~wbarkin
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:3A53E255...@nowhere.net...
Joey Goldstein
--
Regards:
Joey Goldstein
Adam Bravo
> Now, all this is very nice. Those sixths are much more like it.
We wouldn't do such a thing!
The A7#5
> is a welcome addition to replace the darker previous suggestions
> received by email that had a flat-9 on there
> Gm6 and Cm6, but as any simple (but totally hip) bluesman such as
> myself
Ha ha!
> knows, those two chords are essentially the same--given a
> suspended 4th--as C9 and F9. Essentially, you aren't hearing anything
> different; you just putting different names on there and packing a
> bunch of mud around it.
Well, the root matters to the bass player.
> *Note to Larry: In respect to your wishes, all swearing henceforth will
> be done in Yiddish. What about the Jewish children? No big whoop;
> unlike the goyim they don't have the Virgin Mary ears. Jews can handle
> it; since, in case you've heard, we've seen worse. Your threatening
> violent tones, for example. How nice is that for young ears?
What about us Catholics?
He's like a malicious, non-entertaining version of song4.
Daddio
joegoldATidirectDOTcom wrote:
>
> > Okay Joey Shlemazlstein, I'm printing this out for further study.
> > You
> > did a good job
>
> Fuck off you stupid idiot.
> I'm ashamed to be associated with the likes
> of you in any way shape or form. Keep your little Jewish Yiddishisms
> to yourself.
Okay, shmuzik-boy if it makes you feel any better, shmuck-face, dig it
nebish: I am only half Jewish, and that on my father's side, so you may
now think (in terms of your conformist brain muck) that you are safe to
pull the typical braindead in-group orthodox discriminatory racist jive
and declare that I am therefore not Jewish at all. You may think that,
gonif, but of course, I'll be spitting in your face the minute you try
it.
Like, "associated" with me? Man, nobody so uncool, small and mean-
spirited as a square like you is *ever* associated with me, so get that
uploaded to your pus-filled brain in front, and get it there fast.
Here's a guitar lesson for you...
When a Gm6 chord is played at the third fret, but instead of damping
the C, the second finger is depressing both the 6th string G and the
5th string C, what you get is a Gm6sus4, or call it a Gm6add4, since
the third is not being replaced. That chord is the same thing as a C9.
In other words, my approach which reached this bridge by analogy to the
Gershwin tune--instead of cheating by using software (hence all that
flat-nine and minor flat-five mud)--is proven correct by Joey's
software, despite the confusion little Joey's toy program produces by
inferring that the soprano and bass lines are to be construed always as
part of the chords instead of these parallel contrapuntal themes which
they in fact are.
I should have mentioned that using software for this project is
cheating.
So, Joey?
Go away little liar-boy, you bother me. Dis-associate yourself, dry
up, drop dead; disappear, vanish. Poof!
I hereby declare this thread dead. I have all the info I need to
record the song the way I like it.
I will soon be starting a new thread on the subject of Django. Since I
am a record dealer, I am fortunate to have a lot of old imported French
vinyl with some of the last studio sessions Django did on electric
guitar in a London studio with a Brit jazz clarinetist. There is one
cut from one of these LPs in which Django manages to produce the sound
of an entire be bop era (a la Charlie Ventura) big band with nothing
but his guitar, that clarinet and a rhythm section.
The piano group will be dropped from the new thread. I will be
uploading an MP3 of that Django tune to my site. The way Django plays
his guitar on that cut is unlike anything ever done to that time or
since; it will never be done again. He uses distortion, he cranks that
old primitive amp of his to the max and it is hands down, bar none the
most incredible guitar track ever recorded in the annals of music. And
who says so? The guy with the authority to say so: ME.
Now, ya'll are of course at liberty to continue playing with this
thread like a lot of happy little kittens, but The Cat has left the
box. You have seen me waste the last hiss of piss on it. Count on it.
Waste your whiz and fizz and spew of foam all you like. You will soon
learn the truth that the entire world kisses my a...er...pick, and that
situation can't change.
Pucker up!
--==--
Uncle John McSmokestack Lighteningstein
Joey Goldstein
Daddio wrote:
>
> In article <3A54F29E...@nowhere.net>,
> joegoldATidirectDOTcom wrote:
>
> >
> > > Okay Joey Shlemazlstein, I'm printing this out for further study.
> > > You
> > > did a good job
> >
> > Fuck off you stupid idiot.
> > I'm ashamed to be associated with the likes
> > of you in any way shape or form. Keep your little Jewish Yiddishisms
> > to yourself.
>
> Okay, shmuzik-boy if it makes you feel any better, shmuck-face, dig it
> nebish: I am only half Jewish, and that on my father's side, so you may
> now think (in terms of your conformist brain muck) that you are safe to
> pull the typical braindead in-group orthodox discriminatory racist jive
> and declare that I am therefore not Jewish at all. You may think that,
> gonif, but of course, I'll be spitting in your face the minute you try
> it.
No. I have no doubt that you like to think of yourself as a Jew. It's
very fashionable right now to be Jewish and you have an in. This suits
your very middle class tastes.
> Like, "associated" with me? Man, nobody so uncool, small and mean-
> spirited as a square like you is *ever* associated with me, so get that
> uploaded to your pus-filled brain in front, and get it there fast.
I know you've read some Freud. Do you understand the principle of
projection? You are obviously projecting all of your own traits on to
me. Obviously you are not conscious of these things or you would see that.
> Here's a guitar lesson for you...
>
> When a Gm6 chord is played at the third fret, but instead of damping
> the C, the second finger is depressing both the 6th string G and the
> 5th string C, what you get is a Gm6sus4, or call it a Gm6add4, since
> the third is not being replaced. That chord is the same thing as a C9.
That chord is called C9/G idiot.
> In other words, my approach which reached this bridge by analogy to the
> Gershwin tune--
There is no C in this chord you tone deaf racist asshole. It is not a C7
chord. The tune is in the key of G minor. It is a tonic minor chord you
ignorant piece of snot but of course you don't know what a tonic minor
chord is. Do you? Consider taking some harmony lessons STUPID. and maybe
try to gfigure out some tunes WITH YOUR OWN EARS every once in a while.
Again your mouth is moving and you have no idea what the fuck you are
saying. If you had an ounce of class or self respect you would stop it.
> instead of cheating by using software
Software? What software?
> (hence all that
> flat-nine and minor flat-five mud)--is proven correct by Joey's
> software, despite the confusion little Joey's toy program produces by
> inferring that the soprano and bass lines are to be construed always as
> part of the chords instead of these parallel contrapuntal themes which
> they in fact are.
So my "software" has inferred that "soprano and bass lines are to be
construed always as part of the chords" then?
Tell me more about these "parallel contrapuntal themes". I always
thought that counterpoint was the opposite of parallel motion for the
most part.
You don't even know what counterpoint means do you?
Yap, yap, yap, yap.
> I should have mentioned that using software for this project is
> cheating.
Maybe asking other people to do your work for you is cheating you tin
eared unmusical greaseball.
You haven't got a leg to stand on here old Jermpuss. Your arguments make
no sense. You don't know what you're talking about. Your insults to me
have no weight. And you still refuse to learn anything of substance that
is being offered to you. I've actually given you a very good, very free
harmony lesson in the style of jazz harmony that you are most interested
in. I've done it in a way that you should understand BY SHOUTING IT AT
YOU YOU STUPID IGNORANT MOTHERFUCKER. Still you have learned nothing. I
expect you never will.
> So, Joey?
>
> Go away little liar-boy,
When have I lied?
Was I lying when I said you were an ignorant asshole?
Was I lying when I said you were an incompetent because you are asking
other people to do your work for you, the work that most professional
musicians could do for themselves?
Was I lying when I said you were a racist imbecile?
Was I lying when I said you were a less than less than average talent on guitar?
Was I lying when I said your writing was even more derivative than your
guitar playing?
> you bother me.
That's the idea. Glad I'm getting through.
> Dis-associate yourself, dry
> up, drop dead; disappear, vanish. Poof!
Not a chance Germ Boy.
> I hereby declare this thread dead.
Thank fucking God. You've been working on the "Moonray Project" now for
how many weeks? How many weeks have you been trying to hear I IV V
progressions in G minor? And you still can't hear them. Give up music
Jervis. You're THAT bad. Do the world a favor.
> I have all the info I need to
> record the song the way I like it.
>
> I will soon be starting a new thread on the subject of Django. Since I
> am a record dealer,
Well it's a really good thing for your family that you're not trying to
make a living as a musician or as a writer, that's for sure.
> Now, ya'll are of course at liberty to continue playing with this
> thread like a lot of happy little kittens, but The Cat has left the
> box. You have seen me waste the last hiss of piss on it.
Piss is right.
> Count on it.
I'll be waiting.
Rodolfo Portamento Fritzweil
> I am only half Jewish, and that on my father's side,
Well, I asked today rabbi Armando Novominski about your status. Jewish
is someone born to a jewish woman. So, according to the Jewish Halacha
(codex) you are not Jewish.
Rodolfo Portamento Hoya-VelaCruiz FritzWeill, Punta Arenas, Tierra del
Fuego
Joey Goldstein
Rodolfo Portamento Fritzweil wrote:
>
> Daddio wrote:
> > I am only half Jewish, and that on my father's side,
>
> Well, I asked today rabbi Armando Novominski about your status. Jewish
> is someone born to a jewish woman. So, according to the Jewish Halacha
> (codex) you are not Jewish.
We don't need to go there. If Jervis considers himself a Jew that's fine
with me, sort of.
RobinsonCHAZZ
> gonif >>
What is a gonif? CR
Bruce Clawson
A thief
RobinsonCHAZZ
A thief >>
Thanks, I always wondered about that one. CR