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Music
I've had a pretty complex relationship with music over the years... ought to write about that sometime. Anyways: I listen to a lot of it, in genres like "rock" and "pop" and "folk", and play some of it, primarily in the genres "old-time" and "classical".
I'm enthralled with 8tracks' algorithm for ordering its users' mixes. Either the average quality of mixes (adjusted for being in accordance with my own tastes, blah blah blah) is phenomenally high, or the site's software is very, very good at figuring out what music I'll like. I found "You wait so long" by listening to a mix tape that was served up to me seemingly at random. Now I am anxious to find out more about Trampled by Turtles, and about Cadillac Sky and Old Man Luedecke as well.
posted afternoon of February 6th, 2011: Respond ➳ More posts about Mix tapes
I spent a lot of time last night listening to and playing "Mystery Train" -- this was the upshot of cleek's Start Your iPods post for this week. Did not take long for me to find a high degree of assonance between that song and "Meet Me in the Morning" -- well, one thing led to another... Here are some blues tunes for you to listen to.
posted afternoon of February second, 2011: Respond ➳ More posts about The Blues
Ryan of Rock and Wry* is in a band called Borrowed Beams of Light; they are soliciting donations to help produce their first full-length record. And that's not all! The tunes on this record will be "loosely based on a 500 year old, vellum manuscript known as The Voynich Manuscript." Far out, I can't wait to hear! Go pledge. $10 gets you a record when it's ready, $25 gets you a record when it's ready plus their previous short-format CD.
* (Which I am happy and puzzled to discover is a 2-drummer blog)
posted afternoon of February second, 2011: Respond ➳ More posts about Logograms
A new look: I shaved off my moustache and am digging the way the air feels on my upper lip. Also: changed my E string last night -- listen to that thing ring!
posted morning of January 30th, 2011: Respond ➳ More posts about Fiddling
I am greatly enjoying New Year's mixes from Steve of Hot Rox Avec Lying Sweet Talk and from Tim W. of The Great Whatsit. Steve's is a mix of his favorite cover versions of the past few years. Mostly new listening for me, and most of the tunes are ones I'm familiar with. I always find it exciting to hear new takes on songs I love. And Tim's is a list of new songs from this year, almost none of which I've heard before or even heard of.
Here is my contribution to the disk-jockeying fray:
"Talking Bear Mountain Picnic Massacre Blues" -- Bob Dylan
"I Know You Rider" -- The Grateful Dead
"Famous Blue Raincoat" -- Leonard Cohen
"Kanes Blues" -- The Kanek Hawai'ians
These are all songs I connect with discovering a new musical interest -- some quite recently, some in memory over the years as far back as high school. I hope everyone has a good, eventful year in 2011, gets to enjoy plenty of newly discovered and long-nurtured interests.
I haven't quite ironed out all the tagging issues with the mp3s of these songs. I will post a link in comments later on when I get the tape together.
Another example of woodshedding a melody with variations. This is "Amazing Grace" and "Swing Low, Sweet Chariot." (I noticed the other night that the two songs are extremely similar to each other -- you can tell the difference between them by the rhythm, but it would be very easy to sing either song to the other one's melody.)
This is the first recording I have made with my new chin rest. It comes off of the lovely old, broken violin which Eric (guitarist for the Lost Souls) bought at a garage sale for a couple bucks and keeps on his mantel. It's got an extremely low profile, just what I've been looking for -- chin rests are generally too bulky for me to find them comfortable. The edge of the rest is inscribed "Becker's chin and shoulder rest" which appears to date it mid-to-late-19th C. Frederick Douglass' violin, pictured to the right, has the same chin rest.
This is the sketched-out notation of a melody I was working on the other night. (The focus is not right, I can't seem to take a picture of the page in focus; not sure why. The unreadable text is "slow walking tempo" and "(let ring)" -- the â…¤-shaped symbol above the staff I think means to stress the marked note; in any case this is my intent where I've marked that symbol.) An interesting aspect of writing this out was trying to justify writing it out, trying to explain to myself why it's not a waste of time, what's useful about it...
Writing the melody out ends up being useful to me as a way to let myself improvise -- my favorite thing to do when I'm practicing is to take a short melody and repeat it with variations. I had been trying recently to improvise the melodies "from scratch" but the problem I run into is not being able to keep them in mind long enough that the structure of the melody repeats among variations.
While I was thinking about this I got a message from Vance Maverick that he had written out a transcription of the recording which I'd posted on YouTube. (The images of my and Vance's output are linked to the YouTube video.) The recording is my eight bars repeated three times with variations, plus a measure of intro and one of outro. Vance's transcription is the full 26 bars. This is fun: he has transcribed what is in many ways a completely different song than what I wrote out -- what is certainly a more readable, more accurate representation than mine of what's on the tape -- but which I would have a hard time using to produce what's on the tape.
There is a metric rule we both followed, which makes the notes on the page different from "what's on the tape" -- we both represented metrical values as eighth-notes throughout the song regardless of whether or not they're swung. And as Vance points out neither of us writes out the double-stops -- I think of these as a form of improvisation on top of the written melody -- or is precise about writing out the occasional flat fingering that slides up.
I'm fascinated and impressed by the notion of being able idly to jot down the melody one is listening to -- I am not at all fluent in musical notation, producing it is for me a very clumsy, mechanical process. I'd love to get better at it.
I've been listening this week to Crooked Still's record Shaken by a Low Sound. Just magnificent, jazzy bluegrass, a nice mix of tradition with innovation -- if you haven't heard them before you ought to take a few minutes right now and listen to some of their music that's on YouTube, and then buy some of their records. Here's one of my favorites, their "Railroad Bill":
While I was listening to "Railroad Bill" I found myself singing lines from a couple of other songs -- "Bob Dylan's Blues" and "99 Year Blues" both share chord structure and melody with this song. I got interested in blues stock phrases: compare the lines from "99 Year Blues", "Get me a pistol, 3 round balls/ Gonna shoot everybody I don't like at all" with "I'll find me a pistol as long as my arm/ Gonna kill everybody's ever done me harm" in this song. I was recently reading John Jeremiah Sullivan's article Unknown Bards: the blues becomes transparent about itself, which contains some interesting observation about variations in stock phrases in blues (and which is highly recommended reading for those of you with an interest in American music).
In the same vein, I'm having a good time tracing common threads of chord structure in blues and folk music. Crooked Still covers Robert Johnson's "Come on in my kitchen", which has the structure and melody of "Sitting on top of the world" and a couple of other blues tunes; and a lot of the songs I've been listening to lately (probably including some of Crooked Still's, though I could not swear to it) are variations on the They're Red Hot structure, including Two Man Gentlemen Band's hilarious "Me, I get high on reefer".
While I was browsing around YouTube for some takes on "Railroad Bill", I was reminded what's one of my favorite features of YouTube, which is the great number of amateur musicians who upload home videos of songs they are working on. Me and John have started doing a bit of this lately, though our skills are not nearly on the level of a lot of these. Check out RivrRidr902 performing a medley of "Railroad Bill", "Freight Train", and "Make Me a Pallet on Your Floor":
I went to the Rent Party show at the South Orange Elks Club last night and was overjoyed to hear the 4th Street Nite Owls playing hot jazz, with my sometimes partner in crime Jerry sitting in on bass. Hoping to hear a lot more of them in the future.
In his review today, ChristoÂpher Beha describes Benjamin Hale's Evolution of Bruno Littlemore as "an absolute pleasure" -- based on the rest of the review it sounds (if a bit perÂversely) like an accurate description. This is going on my reading list.
A long post below the fold, a bunch of disparate thoughts about music and links to music that seem like they should be in a post together:
