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Friday Influences Thread 11-08-13

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  • Friday Influences Thread 11-08-13

    Lurkers need love too. Come get some.


    _______________


     


    Good morning. Friday is upon us, good music is in the air and in the heart. In the mind and ultimately in your hands, your pen, your guitar and voice.


     


    So many things I've been listening to, so many thoughts and inspirations. Bruce Hornsy's piano playing and great songs with Ricky Skaggs in a bluegrass setting. Mind blowing. The French pop song, La Boheme, by Charles Aznavour from '65. It's still all about Montmarte, dude. And Deep Purple's Lazy, and Joe Bonamassa's cover of it. Great, but the original still rules. Even Gaga, the lady, and her new Artpop release. Clubber's bubblegum laced with acid. But...


     


    ...I've noticed some really cool musical searching around here lately. LCK and Justin O searching for that right chord, Bee3/Justin searching with his fingers on the keys, all this... to find the right note. The chord that pushes just right, that holds off until... it somehow reflects in some little way that emotion they're feeling inside. To refect the internal imagination where it all happens without impedence. How do you... do that?


     


    Samuel Barber's Adadio for Strings does that. The "chords" are extremely simple. The melody, however, searches for a home. It moves stepwise, ascending at first, then descending, but never landing. Always suspended against the harmony. There are brief bits of landing to tonic. For me the most significant of these little landings is the very short rest on the vi at 2:41. There's some magic in that little moment.


     


    This is sad music. Most sad music is so all at once strictly diatonic and to the chord. In a minor key. But this... is all of it. Like life. I know that's pretentious, but what makes this music so sad, is that constant search but never, never resting for long, if at all. Like the mythical dog who traverses the nation to reconnect to his master, only to expire on the road leading to his old home. Lassie come home, we miss you!



     


    For grins, and more honestly, to clarify some things I've been trying to understand for years, the Easy Piano version. ROCK! This below is how my mind works sometimes. Stripped down to the essence of it. Dumbed down to clarify something much more complicated.


     



     


    Let's PARTY! It's Friday!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!

    ___

  • #2

    F, E7, F G, G, F, E7


     


    This is Am! It never cycles through the dominant back to the tonic. Those G chords, are implied Em chords as well. Sort of like darkening any hope. Oh, you like that E7 do you? Well, let me color that nice G a relative minor and see how you feel. Let you know the sad truth about the E7.


     


    These chords are simple. Their movement and little implied resolution, and more weighty even, their lack of resolution, never but only for seconds do we land back on Am. That's clever.


     


    Then he writes a melody that takes that same concept and applies it to the melody chord relationship at any given moment or phrase. And he plays with us, not in an all powerful way like a marionette, but rather as one who shares this same plight.


     


    This is empathy, not manipulation

    ___

    Comment


    • bee3
      bee3 commented
      Editing a comment

      Probably way less cool than say a Keith Jarrett or Oscar Peterson...  this guy did it for me in high school.  Kind of a transition for me to some really hip stuff.  I was in an upscale thrift shop last week which I just discovered (really, it's just like any other thrift shop but in a nice part of town), and they had a decent vinyl collection.  I found two of George Winston's albums (Autumn and December) in mint condition for $1 each!  So... needless to say, I've been listening to them quite a bit.  Mr. Winston is a melody monster.  Really simple, beautiful stuff...  and I've seen him live about 6 times or so...  he has complete control over the instrument.

      The last time I saw him, I went with a girl who was a fan of my band.  She had asked me if I liked George Winston as she was going to see him.  Turns out she knows him.  Was friendly with him...  I was kind of skeptical... so she whips out her cell phone and plays me a voicemail she had saved.  It was a bizarre message... bordering on babytalk and using pet names (Hawaiian pet names actually).  Uncomfortable.  I was still skeptical... Nevertheless, I went to the show... and sure enough, she got us backstage after the concert, and I was able to meet him...  Suffice to say, the voice on the other end of the phone was indeed George's.  His behavior with this girl, who was likely at least 30 years his junior, was just... strange.  All of those pet names... the Hawaiian tone... everything... was real!

      But I digress... strange as he may be, he remains an influence... not as hip as my man Jarrett, but a pleasant listening experience nonetheless.

       

      He also plays a nice Hawaaian Slack Key Guitar

       

       


  • #3
    Guildy pleasure
    ___

    Comment


    • Foose31
      Foose31 commented
      Editing a comment

      Lee Knight wrote:
      Guildy pleasure

      LOL


  • #4

    Just heard Stephen Corbett sing this. Who knew. Sondheim from Company.


    Sorry/Grateful

    ROBERT [speaking]:
    Harry, you ever sorry you got married?

    HARRY:
    You're always sorry,
    You're always grateful,
    You're always wondering
    What might have been--
    Then she walks in.

    And still you're sorry,
    And still you're grateful,
    And still you wonder
    And still you doubt--
    And she goes out.

    Everything's different, nothing's changed.
    Only maybe slightly rearranged.

    You're sorry-grateful,
    Regretful-happy.
    Why look for answers
    When none occur?
    You always are what you always were,
    Which has nothing to do with, all to do with her.

    DAVID:
    You're always sorry,
    You're always grateful,
    You hold her, thinking:
    "I'm not alone."
    You're still alone.

    You don't live for her,
    You do live with her,
    You're scared she's starting
    To drift away,
    And scared she'll stay.

    LARRY:
    Good things get better, bad get worse.
    Wait, I think I meant that in reverse.

    HARRY, DAVID, LARRY:
    You're sorry-grateful,
    Regretful-happy.
    Why look for answers
    When none occur?
    You'll always be what you always were,
    Which has nothing to do with, all to do with her.

    HARRY:
    Nothing to do with, all to do with her.

    ___

    Comment


    • LCK
      LCK commented
      Editing a comment

      Lee Knight wrote:
      Just heard Stephen Corbett sing this. Who knew. Sondheim from Company.

      http://youtu.be/vAVgwA9Gx1A

      I used to listen to this song and the rest of the cast album a lot.

      My favorite is "Barcelona." Bobby -- the anti-hero of the show -- wakes up one morning with a stewardess in his bed...

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