There I was watching "Bad Santa" and it got to the point when Lauren Graham is nailing Santa Claus hard and, no, don't take your hat off, Santa. They're going to town and she's going, "Fuck me. Fuck me, Santa. Fuck me!!"
This movie makes you cry too but it's not quite from the spirit of Yuletide. Laughin' and laughin', I bailed.
So some fucking demon flew into my head and he wanted me to play "Silent Night" to balance Fuck Me, Santa, I guess. Of course I told him to piss off but he said if I didn't do it then he would tell everyone about that time with the giraffe and, wtf, I was drunk.
Also these damn demon wraiths flew about and said if you don't look at the chart we will burn you. Those damn things can do it too, I've seen that before. It's not like they really set you afire. It's more like you explode. Bitch to watch, man. I'm tellin' you.
So I was lookin' at the chart, reading the notes, and singing it in my head. That was making sense and I was thinking, wtf, you don't read music. What is this.
(Ed: relax, it's no great feat because that one is so easy to read)
Whew. I was freakin' a bit.
So I was playing that and feeling kind of beautiful. Kurt Vonnegut is beautiful when he swims but I'm beautiful when I play. What I play may not be all that beautiful but I'm beautiful doing it. Maybe I don't look all that beautiful but I'm beautiful inside. Yah, that's the ticket. Beautiful inside.
And that's when I discovered the E3 key has stopped working. The A2 key has been busted for quite a while and that's part of why playing in F minor is attractive.
(Ed: your compositions are based on which keys on the synth are busted?)
Yup. I'd like to say it's something lofty and spiritual but, nope, it's busted keys.
My first thought wasn't all that beautiful as I was thinkin', Great God Mescalito, this is really bullshit, man. I can fix guitars and computers but this I can't fix. I suspect a skilled Korg synth tech could take it apart and pressure blow the keys and the switches to restore them but that's a guess. It's years past warranty ... but ... losing the A3 key doesn't kill me for F minor.
(Ed: what did the Great God Mescalito say?)
No way I was going to ask. By this time in the evening, he's hammered. If you ask him for a miracle, you do it at your own risk. He might turn you into a purple squirrel just because he thought it would be cool to hang out with one.
So "The Sanctuary Song" still lives for live because neither busted key is needed for F minor and that pleased me so I started screwing with that using one of Korg's best piano voices. It's a beautifully-sampled grand piano plus whatever synthology they do to it for changing pitch, etc up the keyboard.
That got all Ludwig van and I was feelin' all kinds of beautiful. The third phrase of the song has six chords or six and a half if you count adding a seventh to one of them. That was flowing well and sounding all classical piano but I wanted a change and playing some more going up instead of down was peaches right away.
That got me thinking this would be a cool intro into "The Sanctuary Song" so I tried it and that went on for, dunno, long time.
(Ed: so the whole recording trip was blown off because of that key?)
You know they say World War II happened because of a chain events starting with a bad herring run for European fishermen in the seventeenth century?
(Ed: no, I did not know that)
True ... well ... unknown about the herring run but someone did present the idea at some more or less serious level.
So, recording wasn't exactly blown off because of the busted key. When Lauren Graham was fuckin' Santa Claus while he still wore his hat ... and ... with great enthusiasm, I might add ... well ... that did it. Yah, so blame her ... that li'l vixen. That led to the demons making me screw with "Silent Night" and that went to finding the E3 key was busted which I would not have even played if I had gone straight to "The Sanctuary Song" to record. Yah, so blame that hot little vixen. Yah, that's right.
(Ed: you didn't even get us any still shots of this festive Christmas scene?)
You might want to consider relaxing or taking a cold shower, Cowboy Bob. It ain't that kind of movie but I'm sure you will find the soundtrack, erm, scintillating.
This jacks "The Sanctuary Song," tho. That Ludwig van stuff was sounding quite swell and that's not at all the intro I had been playing previously plus it's much longer.
Whoa, Mescalito just woke up, said, "Do both of them," and then fell back to sleep.
That divine stoner wastrel got that one right. Do it this way for live and the other way for the video. Doing this gives freedom to screw around a lot.
Must get back to watching Santa Claus robbing banks but also it gets compositional for a bit. There's clear melody hook in the guitar bit and it comes up with variations a lot ... but that isn't too compositional. Charting 'a lot' is not going to work well. Maybe that's Ludwig van as well and it comes in like his Fifth and that motif nails you immediately. That relationship is insanely loose except for the nails you immediately bit.
That gets all structural because my own motif is stated right from the start and therefore has to recur at pleasing intervals. Too distant is worthless and too often is a boring drag. Things are never so rigorous with me unless I'm recording tracks but I really, really want the liveness of recording this way. As little as possible is recorded and none of it for a fixed number of bars.
The motif idea is a short musical idea (quoting WIKI) and the intro motif in Beethoven's Fifth Symphony may even have been heard on other planets by now. So I'm calling this melodic bit for "The Sanctuary Song" a motif and that gets Ludwig van again because the intro motif is restated throughout in every possible way. This imitates his work in my own rubbishy way but it's conceptually similar in bringing back that motif all over the neck may make it a hook so you recognize it.
(Ed: does this get things sufficiently stirred?)
Yah, I'm thinkin' it's time to get back to watchin' Santa Claus robbing banks and chasing that hot li'l vixen around.
This movie makes you cry too but it's not quite from the spirit of Yuletide. Laughin' and laughin', I bailed.
So some fucking demon flew into my head and he wanted me to play "Silent Night" to balance Fuck Me, Santa, I guess. Of course I told him to piss off but he said if I didn't do it then he would tell everyone about that time with the giraffe and, wtf, I was drunk.
Also these damn demon wraiths flew about and said if you don't look at the chart we will burn you. Those damn things can do it too, I've seen that before. It's not like they really set you afire. It's more like you explode. Bitch to watch, man. I'm tellin' you.
So I was lookin' at the chart, reading the notes, and singing it in my head. That was making sense and I was thinking, wtf, you don't read music. What is this.
(Ed: relax, it's no great feat because that one is so easy to read)
Whew. I was freakin' a bit.
So I was playing that and feeling kind of beautiful. Kurt Vonnegut is beautiful when he swims but I'm beautiful when I play. What I play may not be all that beautiful but I'm beautiful doing it. Maybe I don't look all that beautiful but I'm beautiful inside. Yah, that's the ticket. Beautiful inside.
And that's when I discovered the E3 key has stopped working. The A2 key has been busted for quite a while and that's part of why playing in F minor is attractive.
(Ed: your compositions are based on which keys on the synth are busted?)
Yup. I'd like to say it's something lofty and spiritual but, nope, it's busted keys.
My first thought wasn't all that beautiful as I was thinkin', Great God Mescalito, this is really bullshit, man. I can fix guitars and computers but this I can't fix. I suspect a skilled Korg synth tech could take it apart and pressure blow the keys and the switches to restore them but that's a guess. It's years past warranty ... but ... losing the A3 key doesn't kill me for F minor.
(Ed: what did the Great God Mescalito say?)
No way I was going to ask. By this time in the evening, he's hammered. If you ask him for a miracle, you do it at your own risk. He might turn you into a purple squirrel just because he thought it would be cool to hang out with one.
So "The Sanctuary Song" still lives for live because neither busted key is needed for F minor and that pleased me so I started screwing with that using one of Korg's best piano voices. It's a beautifully-sampled grand piano plus whatever synthology they do to it for changing pitch, etc up the keyboard.
That got all Ludwig van and I was feelin' all kinds of beautiful. The third phrase of the song has six chords or six and a half if you count adding a seventh to one of them. That was flowing well and sounding all classical piano but I wanted a change and playing some more going up instead of down was peaches right away.
That got me thinking this would be a cool intro into "The Sanctuary Song" so I tried it and that went on for, dunno, long time.
(Ed: so the whole recording trip was blown off because of that key?)
You know they say World War II happened because of a chain events starting with a bad herring run for European fishermen in the seventeenth century?
(Ed: no, I did not know that)
True ... well ... unknown about the herring run but someone did present the idea at some more or less serious level.
So, recording wasn't exactly blown off because of the busted key. When Lauren Graham was fuckin' Santa Claus while he still wore his hat ... and ... with great enthusiasm, I might add ... well ... that did it. Yah, so blame her ... that li'l vixen. That led to the demons making me screw with "Silent Night" and that went to finding the E3 key was busted which I would not have even played if I had gone straight to "The Sanctuary Song" to record. Yah, so blame that hot little vixen. Yah, that's right.
(Ed: you didn't even get us any still shots of this festive Christmas scene?)
You might want to consider relaxing or taking a cold shower, Cowboy Bob. It ain't that kind of movie but I'm sure you will find the soundtrack, erm, scintillating.
This jacks "The Sanctuary Song," tho. That Ludwig van stuff was sounding quite swell and that's not at all the intro I had been playing previously plus it's much longer.
Whoa, Mescalito just woke up, said, "Do both of them," and then fell back to sleep.
That divine stoner wastrel got that one right. Do it this way for live and the other way for the video. Doing this gives freedom to screw around a lot.
Must get back to watching Santa Claus robbing banks but also it gets compositional for a bit. There's clear melody hook in the guitar bit and it comes up with variations a lot ... but that isn't too compositional. Charting 'a lot' is not going to work well. Maybe that's Ludwig van as well and it comes in like his Fifth and that motif nails you immediately. That relationship is insanely loose except for the nails you immediately bit.
That gets all structural because my own motif is stated right from the start and therefore has to recur at pleasing intervals. Too distant is worthless and too often is a boring drag. Things are never so rigorous with me unless I'm recording tracks but I really, really want the liveness of recording this way. As little as possible is recorded and none of it for a fixed number of bars.
The motif idea is a short musical idea (quoting WIKI) and the intro motif in Beethoven's Fifth Symphony may even have been heard on other planets by now. So I'm calling this melodic bit for "The Sanctuary Song" a motif and that gets Ludwig van again because the intro motif is restated throughout in every possible way. This imitates his work in my own rubbishy way but it's conceptually similar in bringing back that motif all over the neck may make it a hook so you recognize it.
(Ed: does this get things sufficiently stirred?)
Yah, I'm thinkin' it's time to get back to watchin' Santa Claus robbing banks and chasing that hot li'l vixen around.
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