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"Philo's Tune" -- Feb. Blockbuster, version 2.0 with track


LCK

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I went for a bossa nova style tune. I also broke the rule about the title. I also squeezed a reference to fractals into the last verse.

 

It's about 10 secs. faster than it was when I played it last night. I seem to have sped up after the first or second bridge.

 

Thanks for everyone's help and input in "shaping" the song.

 

Anyway, here's the latest:

 

 

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Incredible. You have the knack for finding the perfect chord for every situation. I'm genuinely envious of your artistry and wish I had that large of a catalog. When I try stuff like that it tends to come out as "look at me! I can toss in an unnecessary, arbitrary unusual chord!"

 

The first high "over" was something special, it literally brought a smile to my face.

 

I'd buy this tune, Lee.

 

Edit: I noticed the download link and stole it, hope you don't mind. Did the same for "Human Body" a while back as well and still run through it at least once a week. If you have a paypal account, I'd be happy to compensate you for them.

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Incredible. You have the knack for finding the perfect chord for every situation. I'm genuinely envious of your artistry and wish I had that large of a catalog. When I try stuff like that it tends to come out as "look at me! I can toss in an unnecessary, arbitrary unusual chord!"


The first high "over" was something special, it literally brought a smile to my face.


I'd buy this tune, Lee.

 

 

Thanks. That rise in the tune on "over" came as a surprise. My first thought was, "Oh, I can't do that. That's too much..." I'm glad you like it. It sort of grew on me as the song developed.

 

One of the reasons those odd chords at the end of each verse "came so easy" to me is I've written a couple of tunes where I switch between C and A (which I stole, sort of, from "The Warmth of the Sun"). In another tune, I switch from C to F in the middle of a verse, but do by going to G- to FMaj7. On this tune, I have the guitar tuned down a whole note. So my fingerings are in A, but the tune is actually in G. When I get to the end of each verse, instead of staying in A (G), I dip my toe into C (Bb).

 

That section (from "shapes and patterns hover over" to the end) goes like this: B-, E7, AMaj7, A#Dim, G-7, F6, AMaj7. You know more about music theory than I do. But in my mind I've gone into C (coming out of A), then back to A again. There's probably a Jobim tune that uses the same chords.

 

Now, as to the bridge, that's interesting too. I don't know, exactly how that came about. The first two chords -- F#- and E, E7 -- are pretty traditional. Then I just figured that since I sometimes go from an E into an A, then a D-7 when I'm writing in C, why not skip the A, and go directly to D-7? Initially I went from the D-7 straight to CMaj7, but tried out the G7 to see if it worked, and it kind of kicked ass.

 

Oh, yeah, and the last chord! I just tried that out right before recording the tune. It's a C#-/A, I think. (Again, using A fingerings with the guitar tuned down to G.) I stole that from another song of mine in A. That song starts out on that C#- chord, then slides down the scale -- C-/A, B-/A, Bb-/A to AMaj7.

 

It makes a cool ending, I guess. I don't know. I'm having fun exploring this different changes.

 

If I show this song to Janie she might have different ideas about what these chords should be.

 

Anyway, thanks again for the input. I appreciate it.

 

LCK

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I love it! I love the "over" note! That's great. One observation that might be fun... or not. :) You B section keeps the same rhythm as your A. The pause after "below" is the same pause as "A cherry pie... a carousel", for instance. You have a cool opportunity to offer a nice contrast here between your A and B, both rhythmically and melodically. :

 

 

The rocks below...

the fresh-plowed earth,

potato fields in Idaho

gave television birth.

 

What if you were to take these four line in your B and turn them into 2. Then use a descending melody to play off of "below"

 

The rocks below the fresh-plowed earth

potato fields in Idaho gave television birth

 

Whatever you do, it sounds wonderful...

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I love it! I love the "over" note! That's great. One observation that might be fun... or not.
:)
You B section keeps the same rhythm as your A.

 

Yeah, that was an artifact of recording. Every time I rehearsed the tune I had a very different strum pattern for that specific reason. Just forgot to do it while I was recording.

 

I'm also open to playing around with the melody line of the bridge, and may use your suggestion.

 

LCK

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LCK

I'll comment, then read the other posts...

 

First, kudos on suckering me in with the title. I was just flipping through to make sure the forum hadn't been overrun by jailbroke iPhone or Vietnamese tour company spam. And, having watched The Kennel Club Murders only days ago (not, by a stretch, for the first time, it stars the great Willliam Powell), a possible reference to that yarn's amateur detective hero, Philo Vance was something I couldn't pass up.

 

The catalog of everyday items and scenes and the overt challenge to make sense of them reminds me, if maybe a little obliquely, of another bossa nova piece... the name and author of which currently escape me. (This would be in translation from the Portuguese, mind you. My middle school Spanish doesn't stretch nearly far enough.)

 

Interestingly, it also reminds me, a bit (possibly because of the seeming overhead point of view of some of the imagery) of the Talking Heads song, "The Big Country," which is either about an airplane journey or an unborn spirit sailing the astral plane looking for someplace to touch down... or quite possibly both. (I mean, after all, he's clearly making gaa gaa goo goo noises at the end, i'n'e?)

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Sorry, Blue, it's about Philo Farnsworth, not Philo Vance, the other popular detective played by William Powell (the primary one being Nick Charles of The Thin Man series).

 

The Brazilian song you're thinking of is "Waters of March." It was written by Antonio Carlos Jobim.

 

[video=youtube;Qle1OrunKnE]http://www.youtube.com/watch?v=Qle1OrunKnE&feature=fvst

 

[video=youtube;3A3W5v1dNNI]

 

LCK

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Not digging the chords under "certain moments in time". The melody is really great up to that "over", I can feel the chorus coming in to grab me, and then the last line just doesn't fit right for me.

 

Other than that, so far so good.

 

BTW - that Aguas De Marco video is fantastic.

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Not digging the chords under "certain moments in time". The melody is really great up to that "over", I can feel the chorus coming in to grab me, and then the last line just doesn't fit right for me.

 

 

The chords are G-7, F6, AMaj7. I get that you don't like the melody line. I do. Maybe it's the chords?

 

Here's the melody line:

 

..F .... F ... F ..... E .... D . E

Cer - tain mo - ments in time.

 

LCK

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I spent about 3 hours last night practicing the bass and guitar parts for Pulling Mussels From The Shell, getting kind of OCD about some timing and tone issues in my guitar arrangement, so it was past my bedtime but I was still too wound up to sleep. Either it takes me a long time to get the picking attack in my right hand under control, it takes a long time for the tubes in the Classic 30 to warm up, or one of the tubes is starting to go bad. Maybe it's a combination of all three things. And I'm about ready to call bull{censored} on those cover band fill-in guys who say they can learn 10-15 songs over a weekend: I guess if your setlist has "What I Like About You" and learning it consititutes "Ok, V-I-IV-I, in A, downstroke on the downbeat" then it's possible, but if you really listen to the original it's like the guitar part is through-composed or the guitarist is some kind of idiot savant - he almost never plays the riff the same way twice in a row.


Anyway, what was I saying? Oh yeah, I need to TAKE ALL THAT STUFF OUT and clarify what I was saying ABOUT YOUR SONG. Focus.

 

I'll site down at an instrument and try to work out what my issue was sometime in March. :o

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LCK

Ah... that's right. I actually remember you mentioning that earlier.

 

Which brings to mind a natural idea for a TV detective show for sometime in the next 10 years or so... an aging baby-boomer detective who has to strategize against his own slowly deteriorating mental condition as senile dementia slowly erodes his faculties. I can see the final episode of the series... the hero finally solves the case of who stole his inflatable beach ball when he was a toddler on his first visit at the sea shore.

 

That is, indeed the Jobim tune I was thinking of, btw. Don't think I've ever heard the Garfunkel version but I think Astrud Gilberto has an English language version from a little later in her career. (I think it's on the Silver collection.)

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sjff_01_img0491.jpg

:thu:
:thu:
:thu:

America's favorite detective family. Not all the Thin Man flicks were equally good but they all had loads of charm, due to the excellent chemistry of the three lead actors. (I'm talking about Asta, not Nick Jr, who was introduced midway through the series and eventually led to a toning down of the power drinking that fueled the first two flicks.)

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"the half-squeezed tube of Crest"

Late to the show, I don't see this line being radio friendly and probably subject to some trademark infringement...

 

 

Might be an issue but probably not. I just heard the latest from Gloria Estefan where she rhymes Susan Lucci with huchi choochi and was thinking of how cool it was was to use everyday euphemisms. I think it's cool to bring a lyric into the very real everyday. YMMV.

 

I Like it. If it is ever a problem there is always an easy rewrite waiting...

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Like I said - your mileage may vary. :D:D Maybe someone should start a thread with a poll...:D:D Are you writing for HCSF members, commercial release, yourself, because it's your job, mass appeal, no appeal, simply for the sake of writing, hoping to turn out something someone may like? I'm sure there's a million reasons.... :D:D It might be interesting to see the list and the results.... :D:D

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