Touching nerves on the result of a creative process.
There are many interpretations for the inclination behind the lyrics below. Some song writers want to let the listener hear what they will and so don’t provide the lyrics. Allowing the listener to ascribe their own particular impression into or onto what is heard. I thought it might be of interest to explain each line as imagined at the time of writing, or as they seem to feel now. But that might get tedious and would most definitely take away from the rhythm if such can be deduced from the reading of lyrics. As something of a melody maker myself, there is the potential to put ones own musical spin onto what one is reading, especially if the original intent was musical. Once years ago while reading Psalms, I heard in my mind accompanying the words being read, heavy metal music! And when pressed for lyrics, I have been able to use the ingredients listed on a package of processed food as a means to convey a melodic idea!
As for these lyrics, (not above, below) they seem to stand perfectly well on their own. Not really needing further elaboration. I must admit though that it was these very lyrics that led me to conclude that the creative process can reveal oneself to oneself whether one wanted to do that or not. And it kinda scared me! What the hell am I trying to say to myself? Do I really need to know this about myself? Apparently.
Does anybody else need to know?
First and foremost art is made by and for the artist. Something inside has to get out. Something has to be done to be understood more fully. Something of oneself clamors for expression! We do it because we can, whether it wants outside attention or not. It gets our attention. Because it is necessary to make even if only for the process of creating something that has not existed before. At least as far as ones own eyes, ears, hands and heart is concerned. Of course derivation is always a part of any creation. Something is made from what has been before. ‘Creative combinating’ I had called it in a previous post here on the blog. The message isn’t always understood until after it is heard. Even then it might not be immediately comprehended. Alas, with out further ado.
waiting (lyrics)
Guess I, shouldn’t feel like singing after all. Trying to answer, try to answer echoes. Smelling smoke, oh a fire barley glows. Stinging hope. Rubbing salt into the prose.
Moving ahead riding shotgun on a whim. You can lead it, it can follow, you can just give out, give up, give in. Stand tall with in a shadow cast by visions blue and dim Too busy looking on, there’s no time, to look with in, there’s no time, to look with in.
Waiting for, evocation true and clear. Illustrating the mind, a fight with words no one hears. Time ran on, time ran out, oh time got in the way. Is what I said, what you heard, is it what I meant to say?
Tied to ancient chains slow to ring the freedom bell. With barbed wire words stand and complain, don’t always understand it, though it sounds the same. Think enough about yourself, enough to quench the pain. Think you’ve found an answer, well the questions, still remain, they still remain, they still remain.
So easy to pretend to be fine, it so easy, to pretend. So easy to intend to find, change. Before a season ends, before a new reason begins.
Time, dissolve and amend. So I guess maybe I, I might feel like singing after then.
so whats all this then?
So what was it about these words that scared me? Admitting albeit in a round about way that, an awareness of my flaws might behoove me to step down from the ego-tactical pedestal I stand on. Also, it seems I might be making excuses for making excuses about my excuses for not creating even whilst being creative. And wanting to sing about it! How’s that for irony!?
It has been awhile since I’ve had a notion to put anything out into the world as it were. Usually avoiding doing that for reasons I continually guess at but am sometimes like now interested in circumventing for some reason. So there’s this then..
I have had so many crushes over time.
Attractions, hopes, dreams, someone or thing that might open me up, like to or let me shine.
And the battle betwixt idealism and cynicism ensues. I tend to err on the side of idealism til it comes time to put up or shut up. then the cynic in me runs the show. Who needs what and or why. Well lets let the idealist run rampant and show its propensity for… IDEALISM!
The ‘Corner of my Eye’ song was the result of a crush a long time ago. I still have the picture I drew of my hoped for inamorata. I have lots of pictures of hoped for inamorata. I have a number of songs as well inspired by hoped for inamorata. But that’s a quandary for another post.
As I have come to appreciate there is more to life and love than just the significant other many of us crave. As a result I reworded some of the original lyrics to try and reflect that. Such are visible but not audible in the video. Whether they convey the broadness of heart that I intend remains to be understood. If any are curious enough to spot the differences I thank you for you interest in my meandering melodrama.
But thanks especially for listening.
Recently I realized how musical ideas can morph and be rewritten and do not have to be engraved in stone before they are released into the wild. So here is ‘Out of the Corner of My Eye’ circa 1989 that still resonates with me but as mentioned I have a slightly different take on the sentiments expressed.
Sentiments, sensations being what they are, can be obtained by various means.
Can be the same feeling despite the instance that causes it.
Heart racing because of a near miss causing an accident, a public speaking engagement, a chance meeting with someone you admire.
All resulting in the heart racing but for very different reasons.
And so words can express various feelings with out necessarily being only about the one thing and yet over all are about the one thing.
Maybe my verbosity gets the better of me as does the vagaries of life that seem to want to demand less demanding and more deferring to possibility.
And as I experiment with this music and alternative instrumentation, that also maybe heard someday.
But for now there is this from then when I was wishful wistful and musical!
So whilst working on a video for my friend A.C. Hampton, Sr. View ‘rumble bugs‘ here and ‘morning fog’ here. I got to the end of the project and wanted something to indicate my efforts in this regard. As I was doing my amalgamation of animating techniques I realized I do not have a suitable card to acknowledge my efforts. The above is a screen shot of a portion of the video end credits that I was quite pleased with generating. My animating techniques are still some what in the developmental stage but I have fun doing it!
This has been my mission statement ever since I decided to pursue a business. I was already busy but have bought into the notion of capitalizing on my busy-ness! I generated the simple but effective thought pictured above as an over arching intention so I would have a reference point if I get lost along the way.
“No man is an island but some are peninsulas” (Woody Allen)
As my efforts here on the blog suggest, I get lost along the way, a lot! I think the main reason is, I don’t have the confidence to really just go for it. The ‘so here I am deal with it, or not‘ motif. Ironiquely it is both, the dealing with it or not, that puts me off. On the one hand, if others are interested then I feel obligated to do more of the same and being somewhat commitment phobique (Yes I do francify a lot of my linguistique platitudinalness, as well as obfuscate words behind my wordinesss but that is what makes me literary!?) This despite being very committed to…
I don’t want to have to do anything! On the other hand, I don’t have to be miffed that nobody cares if there is nothing there to care about!? Having a diluted and deluded sense of self. I saunter and spend the hours and days and weeks and months and years in an off hand way. So much else is really just another effort at dilution and deluding. And what is life but spending the time we have as best we can irregardless and irrespective of any other as we are all only accountable to ourselves? I say this despite having a fairly well rounded education regarding biblical statutes as well as a growing interest and study of buddhism. Which has lead me to the self accountability assessment. Of course that is not entirely true. We are dependent on and depended on by others unless we have fallen off a cliff that suggests otherwise, at which point I mean we are dead! “No man is an island but some are peninsulas” (Woody Allen) So accountable we are, its just to what degree are we willing to commit to that, and this despite no one caring whether we do or not! See, it is self accountability in certain contexts.
So what was my point? Clarity is over rated, and half if not all the fun in life is about being surprised by the next thing coming around the bend! Despite some of that resulting in a collision of sorts that leads to…?
Nevertheless, I do manage a bit of consistency for the dependability principle to stay in effect, both outwardly and inwardly.
Here are couple of video’s I made for A.C. Hampton, Sr. to share his music on youtube.
The one titled ‘look at the sky’ is of the Arizona sky at various times, some shots might be a bit dizzying! Like humanity the sky has many moods. As we watch it will change. As do moods and the thoughts that create them. Best not to leave the light on one thought or mood too long and miss those that are yet to come.
For the song ‘cruzin’ I made a video animating some questions. These questions are usually the result of the plethora of options seemingly available to pursue.
Which way is forward? Which way is up? Why is? Why not? Optionalities abound.
poetically incorrect
Yes I get creative linguistically. Taking liberties with verbiage. As well as what constitutes animation. Proffering another way to imagine and experience. Part of my process to invigorate innovation.
impressions ? comment below
Either of the music or imagery or both!
Contact me for availability to create video and music for your project.
How does the word languish factor into a musical scale, other than the alliterative letter ‘L’ beginning both words? Well there is the time I spent putting this together. Hoping for a useful result.
So I imagined a person alone lying on on a guitar fret board somewhere with an arm outstretched to a stormy sky yearning for…
Some traction in gaining some useful working knowledge of the guitar.
I imagine many experience a struggle in that effort. That might feel like one is toiling and not making much if any progress.
Even after many years of playing I have sometimes felt that way.
Results might not even be seen or seem relevant to the end one imagines the effort should be leading to.
Nevertheless lessons continue to present themselves.
Lydian wants to exclaim “learn about me, I am interesting and worth knowing”
But wait there’s more !?
But we might rather right now be, watching TV, trying to get to sleep, looking at alternative art on Pinterest, reading comic books, drawing, rearranging the furniture, anything but advancing guitar playing ability, the audacity!
However to get to another level as a musician we have to approach our efforts dilligently.
A claim of being this or that, of going to do this or that, will make no difference until the this or that is actually done!
Despite compulsions, the weather, various obligations all around. We can usually choose to do what we want, we just might need to focus our intention into attention.
That seems simple enough, so how can we stimulate momentum in the direction of our goals?
Answers but the questions still remain
Some questions might help.
(Why) am I working at this? ( I put why in parenthesis because, I think most times it is not needed to ask a question.
And ‘am I ?’ suggests that we have more control or capability in the equation than we give ourselves credit for)
So my answer to ‘am I working at this?’ is: Here is an opportunity to grow as a musician, to further develop skills that I want to share. I want to take music seriously and to share my enjoyment of the creative process.
Which in my case, is a perpetual work in progress.
Is it enough to be creative without any reward or recognition?
YES. I would still be and am creative sans reward or recognition. I have to be to survive this existence. AND. To create something and attempt to share it, with so many options available to do so these days. NO. Recognition and reward are not my tasks as a creative.
That is someone else’s task to recognize or ignore, reward or refute. Though as I think of recognition and reward now, I realize that in fact:
the mind never stops making connections
re = again; cognition = to learn; is happening within and,
re= again; ward = to watch over (of germanic origin); it is rewarding in and of itself to produce something even if the only one enjoying the result is the one making the effort. But that is rarely the case. I believe we cannot undertake a creative task with out having the effort affect us and subsequently those with whom we interact in some particular way, regardless if the result produced is put on display or not.
However I didn’t get to this point in my existence without input from and acknowledging the efforts of others
SO. Creative output can and should be shared as best one can for any of the above to have an effect.
inciting insight invigorating innovation
What do I hope is going to come from this effort? A blog post that incites insight and invigorates innovation.
An outlook, an approach, a take on life and the making of music that keeps it real and at the forefront of my life
What I offer to benefit myself and any one else that might find this then, is another video demonstrating how to use the sonique spiderweb with an emphasis on the Lydian mode as found within the Ionian in the key of A major. Languishing in the Lydian video link
While the obvious forward and across the fret board approach is all that is needed for a cursory understanding of the scale.
Should one be so inclined to develop it to another level I offer my take on the subject.
There are many ways to play scales on the guitar that are unique and instructive.
Which can advance ones musical vocabulary significantly.
These that I offer can of course be applied to other scales and modes, as knowledge of the fret board becomes increasingly innate or 2nd nature.
The options available to have scale study impart a unique aspect to ones musical vocabulary can thus always be improved upon.
There is truly a wealth of possibilities available in the so called ‘basics’ if one can make some time to for it!
There is a Turning the Lydian inside out.pdfof some of the scale studies I’m advocating, available here as I’ve recently got some new software that helps me to produce that. Hope it proves useful!
Recent artistique result derived from the information in the post below
j’ART 0563
The above original image is available to purchase. 18″ by 24″ ink on mixed media paper
$100.00
So I like to be practical and somehow creative. How to multitask so I can do what needs to be done, as well as, do what wants to be done?
Combinations can work. I have had jobs that afforded me a lot of free mental space to think about things that were not work related, sex notwithstanding. Coming up with new ideas that can be utilized outside of the employment paradigm, wherein I want to be proactively and productively creative!
One such example comes to mind. Once whilst stocking shelves I thought up a game for my 5 year old grand niece (is that a thing?) to play. This involved hiding several of her toys about the house and yard, leaving written clues next to each that lead to finding one after another, and of course blaming it all on the cat! She enjoyed that so much she asked for more of the same. So I consider that and what follows a form of multitasking.
So I also want to express myself to myself sometimes, putting things down on paper sounding out my thoughts as it were. Sometimes stream of consciousness stuff, sometimes pragmatic, sometimes wistful and sometimes pedantic. Not stuff I need to share with the world but need to get out of my head for one reason or another.
I have found away to do that and make something in the process.
j’ART
Art from journaling.
When writing with this intention, the words I am thinking, get scrawled on the page in a rather haphazard and non linear fashion. As well as in a variety of handwritten fonts and sizes and languages, to say nothing of direction, oops just said something of direction.
Then in the clearly monochromatic style that has been my go to for ever. And within the spaces between the marks made from the letters written, I color (?) those in.
music and media to incite insight and invigorate innovation.
Here is a 2.5 minute video of the effort, and some additional artistique expression.
As I look at/within these combinations of letters, color, of light and dark, I seek some indication of what interests me. Or maybe I’m just projecting desire into the result of the endeavor?
I ask (sarcastically sardonic) ‘if only there was some way to know what I really want ?’
Mundane proclivities aside, and aren’t they all mundane ?
The want is to matter!
As we are made up of matter, and have interests that matter, sometimes wondering, what’s the matter? Seeing the word in these contexts begs the question. Does it matter?
But there is no escaping that this is a significant part of existence.
So figuring out how to do that, how to matter and realizing the many ways in which we already do, can and does make it all the more challenging and interesting to continue to do so. I hope you know you do.
What do I mean by ‘The Zone’? It is that mental space that allows for serious motivated attention in which to pursue an interest. Seeing how the ‘Russian Method’ or at least a portion thereof, worked on the keyboard in finding that space when practicing to develop skill further. I decided to try and find it on the guitar using my invention, ‘The Sonique Spiderweb’ as an aid.
This way of playing scales is of course possible, however the guitar is unique in that some notes that sound identical can be fingered quite differently, that being said the principle is the same.
The idea is to move from a root pitch 3 octaves apart through the sequence of notes/intervals making up the scale. Instead of playing all the notes in a scale an octave apart simultaneously as is common on the piano keyboard, (now that I think about it, that would be a challenge on the guitar! which will be explored soon, thank you very much mind of mine). Back to topic. We move away from the root pitch by both ascending and descending through the intervals. An example in the A major scale can be seen here.
Here are the specifics in writing
So we begin 3 octaves apart with the A pitch.
Then moving away from the root up in pitch to the major 2nd a B note and down in pitch to the major 7th G#/Ab,
(it is possible to goin either direction with the intervals, higher or lower in pitch, current example shows one way)
Next we move up to the major 3rd C#/Db and down to the major 6th F#/Gb
Then up to the perfect 4th D and down to the perfect 5th E
Then up to the perfect 5th E and down to the perfect 4th D
(same notes different octaves!
as will be the case as we continue)
Now we move up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Aband down to the major 2nd B
once again at an octave A note or pitch
Then inverting again we move down to a major 7th G#/Ab and up to a major 2nd B
Down to a major 6th F#/Gb and up to a major 3rd C#/Db
Then down to a perfect 5th E and up to a perfect 4th D
Followed by its opposite up to a perfect 5th Eand down to a perfect 4th D
Then up to the major 6th F#/Gb and down to the major 3rd C#/Db
Then up to the major 7th G#/Ab and down to a major 2nd B
And voila we are back to the root A note and none the less worse for wear.
invigorating innovation
So we can see two ways to reference and relate to the scale, one by the note names, but also as importantly by the intervals or distances from the root. I have found a kind of mnemonic device to remember this. Octaves are obvious, 2nd and 7th begin with the same 2 letters, the 3rd and 6th intervals are divisible by 2, and 4th and 5ths are right next to each other.
So, while this can be a challenge if we haven’t done this before and that is kind of the point here. This can be a useful method for getting into the zone or put another way, a more involved mind set for practicing other concepts we would like to make progress with.
Here it is for any to use. I am doing what I can as I am able, to show its utility as a musical instruction device but it can do more than just teach. Which if you decide to track my trajectory of haphazard blog posts and video demonstrations will eventually become evident. So a little more about making one.
As it is rather a bit much to assemble and offer for sale, I am making it available at no charge, as a .pdf (See top of page for PDF link) for you to print and use. Here is a video of how to make one should you be so inclined. So if you want one and do not want to purchase it, here it is for the low cost of your time, effort and careful attention to detail.
If you would like to show appreciation for the effort involved in producing this and the associated material, blog posts, videos, and music that are a part of this enterprise, Donate below.
So there you go. Hope that is not too much pressure, and it is not required but appreciated if offered. As is simply being interested in my invention!
If you watch the video you will see what a challenge it is to manufacture. While the video shows how to make it, it is not demonstrative of how long it takes to produce despite being some 20 plus minutes long. And that is after I cut some material that while, not irrelevant to the process of producing it, it is perhaps not absolutely necessary to show.
All that being said I do feel it has a lot to offer and believe it will be of use to persons wanting to understand notational relationships in music theory displayed simply and alphabetically.
Hopefully the sonique spiderweb will be of value to those who endeavor to increase their musical proficiency and find new and innovative ways to understand musical concepts as a result. What follows is a rather detailed but far from comprehensive explanation of the sonique spiderwebs capabilities. As well as options to purchase an assembled functional sonique spiderweb.
as mentioned previously
So here it is at long last I am letting it out into the wild! Finally filed for the patent, that was my benchmark to letting go.
I can no longer use that as an excuse not to share it! There is a lot to unpack here and I plan to do just that as time permits. I intend that it is helpful to anyone desirous of learning certain music theory concepts. It has a lot to offer in this regard. In particular, the relationships of notes and how those can be utilized to work together in harmonious expression. I have some videos posted of how to use it on my youtube channel. Some basics to get started.
Links to my youtube videos.
How to use the sonique spiderweb to build chords. How to use it to make scales, major and pentatonic examples. How to use it to learn and find the name of the notes on a guitar. As well as an overview of its many features.
Some information about the sonic spiderweb
From the advert.
What is this thing we are looking at? Who has devised such a mechanism for capturing the attention of musically inclined persons to satiate their thirst for notational music theory? How does it impart its wealth of information so practical to the study of music? When can it be used to further musical aspirations? Where can I get one? Welcome to the Sonique Spiderweb.
This machination of musical mystery and perchance mastery has been developed over many years and has taken many forms to reach this present iteration!
I have personally put my own hands to work at the task of making this device as useful and easy to employ as possible. I call myself guitarbeau!
With in its dodecagonique shape lies an amazing ability to clearly display in alphabetic form the names of musical pitches found in a mode scale or chord and transpose that information in a snap with a twist or a turn!
This will become evident as we delve deep into its angular lines and tangental appearance to discover pragmatically proffered, perfectly possible potentialities and prudently practical purposes.
The Sonique Spider Web has been constructed in just such away as to not require alternative energy sources to operate, it can be put to use at a moments notice. No wait time, no boot time, no file search, no extension cord needed.
Obtaining it can be as easy or as complicated as you might prefer. Order one from guitarbeau.com As it is hand made and requires some time to assemble it is priced exorbitantly see the website for that information. Or make one yourself with a printable pdf on display at the top of this article that contains just the musical data available for display but with out all the particularly spectacular tantalizing features that make the Sonique Spider Web such a fascinating choice to explore! Though you could develop your own perspective on those features, I’ll share my technique should you want to go that route. Visit the video on how to make the sonique spiderweb.
With out further ado let’s spin this thing and see how dizzy we get!?
THE SONIQUE SPIDERWEB
A description
So there is an abundance of information available here on this 8.5 by 11 inch cardboard invention.
Starting with the outer perimeter.
We have surrounding the sonique spiderweb 12 intervals or scale degrees designated at 12 equal distant sections making a dodecagon or 12 sided shape.
These interval designations are:
the ROOT, a minor 2nd, a Major 2nd / 9th, a minor 3rd, a Major 3rd, a Perfect 4th / 11th, an augmented 4th or diminished 5th, a perfect 5th, a minor 6th, a Major 6th / 13th, a minor 7th, and a Major 7th.
These are the 12 intervals or scale degrees used to define the spaces between musical notes from a root note.
Moving from an interval to another interval can be described as moving in steps.
Either a half step to an interval right next to it.
Or a whole step, to an interval separated by another interval or scale degree. This is a teaching paradigm that I don’t use very much.
inside of the outer perimeter
The next segment of the sonique spiderweb has 7 common modes or scales indicated with in it at specific intervals.
These modes are based on a Major scale and each begin from a subsequent interval of the major scale.
These are designated as:
Ionian: A major Scale begins from a root note
Dorian: A natural minor scale with the 6th interval or scale degree 1 half step or interval higher. Begins from the major 2nd interval of the ionian major scale.
Phrygian: A natural minor scale with the 2nd interval 1 half step lower. Begins from the major 3rd interval of the ionian major scale.
Lydian: A major scale with the 4th interval 1 half step higher. Begins from the perfect 4th of the ionian major scale.
Myxolydian: A major scale with the 7th interval scale degree 1 half step lower. Begins from the perfect 5th of the ionian major scale.
Aeolian: A natural minor scale. Begins from the major 6th of a the ionian major scale.
Locrian: A natural minor scale with the 2nd and the 5th intervals both 1 half step lower. Begins from the major 7th of the ionian major scale.
at the heart of the sonique spiderweb
The inner section of the sonique spider web has the musical alphabet indicated on it in sequential order.
Also indicated are key signs that correspond to the note or notes named in this version these are in the treble or “G” clef.
The note name section of the sonique spiderweb can be rotated to allow for transposing a scale or chord into another key.
sliders hiders blinders deciders
This feature really gives the sonique spiderweb its splendiferous capacity!
Just underneath and at the edge of the sonique spiderweb are movable sliders that can be used to hide or allow the display of the note names of the musical alphabet.
For example: to display an Ionian major scale use the sliders to hide note name data on the inner section:
at the minor 2nd, minor 3rd, augmented 4th/diminished 5th, minor 6th and minor 7th intervals,
and display note name data at the Root, major 2nd, major 3rd, perfect 4th, perfect 5th, major 6th, and major 7th intervals and voila the notes to any major scale
are visible.
For example with a C note displayed or dialed in at the root we have C,D,E,F,G,A,B.
A C major scale. if you’re an astute observer you will also see the various other modes are like wise displayed along with the major scale.
This is because these other modes are found with in the Ionian major mode or scale!
With a simple turn of the inner web we can dial in any major scale in any key.
but wait theres more!
But that’s not the only scales we can display!
Using the sliders we can display a variety of other scales. All we need to know is which intervals are used in a given scale.
For example to display the notes of a major pentatonic scale.
Utilize the sliders to allow the display of a root, major 2nd, major 3rd, perfect 5th, and major 6th.
And hide all of the other intervals with their associated sliders sliders and voila! A major pentatonic.
Choose what key to play in by turning note name segment so that the desired pitch appears at the root position.
can you display chords? yes you can!
Chords are possible too!
Want to work on major triads. Display a root, a major 3rd, and a perfect 5th, hide all other intervals and dial in the root note you want to work with.
Want to add a minor 7th reveal the note under that slider and add it to the chord voila!
Want the major 7th instead a simple swap of slider position at the corresponding intervals, et encore voila!
What about something esoteric like a F#diminished 7th chord I discovered whilst playing we are the champions by queen.
This neat chord can be played from any interval and look like itself on the guitar fretboard and use the same notes albeit in different positions.
At least that’s how it occurs to me.
the intervals involved are: a root, minor 3rd, dim 5th, major 6th.
Look how it appears on the sonique spider web, we have root interval open going clockwise 2 intervals hidden, another the minor third open, continuing
clockwise 2 more intervals closed, then the diminished 5th is open, then 2 more intervals closed, the major 6th open, then 2 last intervals likewise closed.
A step and a half betwixt each pitch evenly positioned yet sonically amazing can you believe it.
there will be more to come
So those are the basics basically. Moving forward there will be more opportunities to study and put the sonique spiderweb to use that should provide a lot of fun.
I have made an adjustment in the manufacture of my device to make it more economical.
order form
the sonique spiderweb
a music theory teaching aid to display alphabetic note name data and intervallic relationships betwixt that data. shipping is included.
Self Portrait: The artist as motivated to try something different!?
I didn’t mention this at the time but..
I really just needed to put something out, get heard as it were. After writing and recording so many songs, and doing nothing with them this seemed like a momentum moment, actuating motivation!? So after having put it out there under the auspices of a contest. I am now second guessing what did I do, by signing over all the rights to use my song Rattle Snake Jane as they see fit, and realizing this is regardless if I win or not?
Getting the ‘You tube channel’ up and running for the submission process was almost too easy. Having been wanting to start one for awhile now. However generating relevant content that I am pleased to put up, is another story. Still a plethora of ideas continues to flow in, preoccupy and befuddle my abilities at follow through but nevertheless, I am willing to continue this endeavour.
but I hate the way I look on camera!
So that means, making videos where I am performing is a challenge. Still I try and get creative with the process, much to my dismay sometimes, as I struggle to puzzle together the next offering in iMovie, or some other program I have available in order to cobble together the disparate views of my idealogy. Yep, I spelt it that-a-ways for reasons you are of course, always free to think about!
I really should plan my posts better
I am always thinking about a graphic after I’ve started writing but get so excited that I actually wrote something that I don’t want to wait to publish before I can find something visual to include here. Then there is the editing, and getting hung up on placement of and defining nevertheless, and momentum moment, and what should probably be a link, but is not, to my idealogy!?
Alack there are more dagblammit ideas to pursue!
So I need to get back to work on editing the next video, so there will be something to write about next. I am contemplating a patreon page so my massive fan base can show their support, but that seems like a lot of work and I always feel like I need to have more to show to warrant such consideration. I did try a self portrait recently that was outside of my usual approach to art, so that’ll be the graphic for this post.
As always leave a comment if you wish, and thanks for reading.
I don’t know. Is it the desire to make some sort of progress? Having maintained an unwillingness to connect, ask for help. All the while recognizing a need for such. Connection / Help. Wanting to hide in a relative obscurity. Long term, it all becomes obscure so…? What is there to be afraid of?
I DON’T WANT ANY TROUBLE
Having been a self involved and self indulgent sort for so long it is a challenge to acknowledge I might be wrong about my choices thus far. About my devout narcissism and unflinching desire to remain alone and untroubled by the rest of the world. Meanwhile the world remains as it is, untroubled by me.
The effort to make oneself a going concern is quite the quandary! I matter to me but do I need to matter to you to feel…?
Whole, complete, worthwhile, considered?
Beyond of course the perfunctory consternations, comprised of past compilations and complications, contrived by conditioned considerations that may or may not be relevant anymore !?
D’accord (of course) the mirror works both ways. Do you need to matter to me to feel…?
Whole, complete, worthwhile, considered…?
ETC..
These feelings are possible irrespective of others, though the contributions that interaction with others contracts, enacts, protracts and exacts, can embellish said capacity to feel and that is perhaps a salient point on which to proceed with the potential dilemmas or delights such interaction can result in.
Allowing understanding (standing under ((Is that even possible?)) and did I use parentheses right?) of another and especially of oneself to develop!?
What’s the matter? How does one choose to PRESENT is difficult! One can choose to interact with whatever spirit one can manifest. MELONCHOLIQUE IRONIQUE HISTRIONIQUE (sorry I’m french at my core) ( even if incorrect I am still french!) How does one choose to be PRESENT ?
I am the same as you yet different. Wanting to maintain an existence and make the most of the matter I am from the matter that is? How then to not get sucked into the ego tactical maneuvers that seem to make up so much of existence?
ISO help to facilitate sharing but with the caveat that I get credit for doing so! Is sharing in and of itself not enough?
“There is no limit to what one can accomplish if one does not care who gets the credit!” Uncertain of the source but the phrase has always reverberated.
What does one want to accomplish that matters so much and that credit would be irrelevant?
The dog I live with won’t let me comb his hair. He accepts massages, petting, food and living arrangements but refuses to be groomed. To what end? His rear end! His feces sticks to his fur and from my own experience, when feces sticks to my “fur” I prefer it not be thus. Plus there are the burrs and other various flora and fauna that a long haired dog is bound to accumulate living in the Sonoran Desert.
Maybe it is about control. I want him to be groomed cause he is a reflection of me somehow. However after being informed by an appreciative onlooker that “he is a beautiful dog” my response is “yes but I had nothing to do with that” this despite my desperate and disparate attempts at grooming him. Irregardless he seems content. Yes I wrote irregardless despite my vain awareness of someone else’s awareness that such conjugating is redundant and irrelevant. But so is almost everything in existence save for what our perception allows as to observable facts. Which are just interests in things that are what they are but also what we wish them to be.
Solomon wrote in Ecclesiastes “ To the making of many books there is no end and much devotion to them is wearisome to the flesh” But I suppose it depends on the reader and the books. Besides all things eventually weary the flesh. So read anyway and enliven the experience and observation of the known universe as well the unknown.
What I am working on. ‘the occasional smoke’ a demo of a song. Here so others can access it and contribute their part. I can’t quite put my finger on where the ideas come from. Though now that I think about it, there is quite bit of combining going on. The first chord is a variation of Gm7 and C9 from Rocket Man by Elton John. The intro bass line is possible because my current abilities can easily combine to make that happen. When it changes to the slower bluesy part that’s where I get to struggle and where my effort needs to be focused. Voicing the chords, using different inversions but the same notes whilst the bass line left hand part does its thing that’s the challenge. Le Défi as the french say. There are other recognizable musical conventions employed throughout, to make it accessible. Recognizable yet still demonstrating some originality. It is as much a learning process as it is a creative production.
There are of course other issues. Energy to follow through. What should be addressed next. The other aspects of producing multi media art. Distracted by the next stimulating thing. This can be another song, sketch, video photo op, thankfully not just a tv show or some such. And of course wanting to make it the best it can be. Perfectionism it can derail the process because it can always be better. But it also is what it is so there you have it.
Words to live by
IRREGARDLESS
So ‘irregardless’ (I know some hate that word I used to be one of them, I’m not anymore) because in the overall scheme of things what does it matter? If it gets noticed by any or ignored by many. The point seems to be, does it matter to me enough to do it irregardless.
My cousin, my evil twin recently passed and she know that I did not care for the word ‘irregardless’ So being the evil twin that she was made a video game avatar and facebook page for the character she named:
Irregardlessee
Irregardlessee.
She did this because in my linguistic capabilities or the lack there of especially in french. I would conjugate at whim and did so with the word I now think I live by:
probablemente
Probably. Seems like a useful life motto She said the construct did not exist in her experience and it offended her. So of course make an avatar name her ‘Irregardlessee’ to try and provoke my ire. It did not, but we had fun dealing with such things.
Ironiquely I don’t really care that much about the word, I was just parroting off some comment another had made that I must’ve thought sounded intelligent so I adopted the posture of linguistic exemplar to foster an aspect of my identity I could feel good about. Hence another example of creative combinating I’ve put to use to have something to say.
But wait there’s more
As if to demonstrate the evilness of both twins, she eventually did hear a French newscaster use the word ‘probablemente’ So vindicated I was right all along and my identity as a linguistic exemplar remains intact! However I miss my evil twin immensely.
I have my memories to keep me challenged by our new proximity.
Hot Milk a video. Another creative expression using the tools at my disposal. The music is by A.C. Hampton Sr, We have been collaborating for a while now. I am learning a lot about how to make my tools do things I haven’t thought of. Animating this way and that. So progress is always being made. Still being drawn in many directions trying to make sense and cents of it all.
And then some me thinks. Yes there is more to say somehow despite the plethora of what has already been said. Do you find an inane distractability in just about everything there is to do? Maybe during practice, reaching for a beverage instead of maintaining focus on the difficulties of what we’re trying to learn!? What I’m asking is, is it really thirst? Does dehydration occur sitting at the keyboard learning to read music? Enough berating of my anxious concerns about managing to get things done for the moment.
I’ve berated B flat Major in a previous post and as this is something of my paradigm to go through all the modes in all the keys as a project.
We come to Dorian in C.
A natural minor scale comprising all the notes of a Major scale but the root pitch begins from the Major 2nd interval. In the case of B flat Major, the Major 2nd interval is C. What makes it a minor is the 3rd note from this starting pitch which is E flat. The 6th interval in Dorian in C is an A, this is a half step higher than would be in a natural minor scale where the 6th would be A flat.
I know, fascinating right.
All so we can find and play the right note on demand.
So knowing what we know about Major scales and B flat in particular, see if we can parse out or deduce the other pitches in C Dorian.
Fill in the blanks, in your head, on your instrument or on a separate sheet of paper if you like. The pitches previously mentioned are filled in. The intervals are relative to the root C.
Root C, major 2nd___ , minor 3rd E flat, perfect 4th___, perfect 5th___ , major 6th A, minor 7th___ .
Keep in mind it should be alphabetic. So if there is a C and there is an E flat there must be a..?
Now go and find them on your instrument.
the dorian mode in various positions on the fret board in tablature
When to use the Dorian in C.
What chords are available given the pitches we’ve deduced above? Find one or 7 and strum and then improvise using the scale over the lingering memory of the chord you played. The obvious choice is of course C minor as a jumping off point. Let us find some of the other possible chords that can be built from the sequence of notes we find in the mode.
Here is one way to find chords in a scale/mode
As is my custom, here is my take on mixing up the playing of the scale to challenge our fingers.
inverting the mode/scale to make it interesting to play
Why make this harder than it has to be? Because sometimes a thing is hard to do? Reading music is hard to do. I thought I knew music and I do but there is always more to consider. As far as reading it, eventually I found the note symbol names easy to commit to memory. I have been rather presumptuous in marching to the beat of my own drummer when trying to learn a new piece of music. The timing of the notes requires another level of consideration I have not been giving them. This I must now understand better especially in the context of timing.
Knowing how the song is supposed to sound but translating that to my fingers has proven to be difficult. So changing the perspective of my inner drummer, (it wants to go faster than it is able presently), requires a mental shift into a more patient mind set. Hence the numbering of the timing under the notes and rests, must not forget the rests! It is really easy to miss an 8th note rest symbol, and what a difference acknowledging its there does to make the piece play properly. I have also found it useful to name arpeggios (chords where each note gets played individually) when they occur to aid in memorizing the piece. So writing these out on the music I am learning helps. As well as the fingering sometimes. Playing slowly and in time can be a chore, but does help to focus the mind.
beginning JUMP keyboard solo by Van Halen
Those 16th notes can be a challenge to count. But the eye opener for me was that tiny little rest at the beginning of the measure (hi-lighted). Ignoring that little 8th note rest the whole piece gets out of sync!
And those dots between the 1 . & . 2 . & . can be counted thusly 1 e & a 2 e & a etc.. Not easy to do at first or even the 70th time but will make a difference in a performance.
Interesting how the chord begins at the end of each measure
What to practice
Which reminds me of another point of consideration. I can play various portions or parts of a piece just fine, but putting them together as a whole is where hesitations can occur. The changes from one part to the next. Or one chord to the next. This is the place to focus attention and energy. Not on what is already committed to memory and understood well. Though that is a necessary part of the context. To be able to make it through the entire piece without a hesitation. So reading music is not only acknowledging the pitches on the page and where they are on our instrument but also the length and time between their occurrence needs to be understood.
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