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Date: 10:39:55 A.M., October 10, 2003 Name: perry Email address: ptownsend@immerbox.com Comments: Just wandering through ... yeah I don't know the Amanset song you're talking about, but just from looking at the excerpt, those 4th & 5th bars seem like one long 3/2 bar to me. So that the pattern feels like 5 bars, with the 4th one longer. Kind of the way that 5/8s and 7/8s feel less like bars with 5 or 7 really fast beats, than like bars with 2 or 3 beats, one of which is "stretched". But the combination of 5-bar instead of 4-bar structure along with one of them being longer gives it that nice ambiguity. Of course you've also got the hypnotic touch of the ever present D, according to your symbols. Is that one long sustained tone held thru-out, or is it re-articulated with the chord changes? Love the skipping-CD telemarketing msg BTW ... ever heard the "we're sorry we can't complete your call as dialed if you feel you've reached this recording in error please hang up and try your call again" where it gets chopped into randomly sprinkled 1.5 second bits, like "reached this recording can't complete your and try your we're sorry we call as dialed error please hang..." Hysterical, brilliant, except not by anyone's design. I've got a couple of speaking-chorus pieces lampooning the way language gets mangled in the hi-tech age - that may be the next one... |
Date: 12:14:17 P.M., October 12, 2003 Name: Phil Email address: phil@masstransfer.net Comments: I tried to find an MP3 or RealAudio file of the complete song online, so you could check out the section I transcribed, but alas, no dice. There are 30-second excerpts at Amazon and -- of all places! -- WalMart, but none that include the end of the song...and whenever I tried to narrow down my search a bit, I usually ended up with my own site! (I don't know whether to be pleased or embarrassed by that...) I think I agree that it feels like a stretched 5-bar structure. Certainly, the 1/2 bar feels like an extension, rather than a truncation -- though it's so natural that one isn't normally conscious of it: it feels both interesting and right, rather than quote-unquote "interesting", if you know what I mean. The D is indeed re-articulated -- at least in the sense that Kenny arpeggiates the chords, and plays the open D string on every upbeat (2 and 4), so it's the same pitch throughout. I completely agree that it's a big part of what makes the progression hypnotic and involving -- good ears! It's the kind of thing that I suspect guitarists have a much easier time coming up with (owing to the nature of their instrument), though it's not often that an added tone works as well as this one does. But the "nonharmonic tone that works" is one of my favorite musical devices, and I wish I were better at coming up with my own -- though when I pick up the guitar, I do tend to write more of them than when I'm at the keyboard. I've never heard the error message chop itself up, but I have heard some very strange error messages now and again -- mostly ones that involve some Conet Project-like chanting of seemingly meaningless numbers. (Though I guess most of them do that, actually.) Have you heard anything by Paul De Marinis? Thanks, Perry! |