Silas Scarborough was playing again tonight at Cat's Art MusikCircus and that has to mean explosions and lights.
Cat believes strongly that a big stage show detracts from the music and, quite obviously, I disagree with that. What I believe is that the music and the lights combine as part of the transcendence. It's all part of getting to where the Necromancer lives and, as we hear in the song, that's a very, very long way from here and it takes all the energy we can bring to get to it. There's a very badly mistaken perception that this is all about escaping reality but it's nothing of the kind, rather it is using every bit of our resources and our consciousness to see and experience all of reality.
The physics applies as well as music is one set of frequencies in a much bigger spectrum in which harmonics have much greater significance than being limited to sound. The scales repeat from each end of the musical spectrum as what logical reason is for them to stop. Our mapping of the 'reality' of musical intervals is based on our view of the logic of it but there's nothing inherent in that logic that prevents extension of it to frequencies above and below those that are audible to us. Whether our mapping of scales is arbitrary and artificial or a reflection of a much greater reality is for you to decide and for the interested student to verify.
Yes, I really do think about stuff like this and, well, only for my whole damn life. It goes all the way back to running to all the concerts with Lotho as they were explosive in volume but the best ones were magnificent in lights. Cadillac Man went to a whole lot of these shows too as rich back then was having tickets to more than one concert in your pocket. Actually, relative to everyone else, Cadillac Man was rich because he, gasp, worked. I'm pretty sure it was the same with them that we weren't leaving reality behind as that's probably impossible anyway but what we did want was the most massive experience we could possibly find. And we were pretty good at it too!
(Ed: really kozmik, Silas. Was there a show, or what?)
Funny you should ask as, yes, there was. The show report is that the fingers are toughening up nicely. It doesn't matter how long you play as your fingers will get soft if you stop and then you have to toughen them back up again.
(Ed: so don't stop.)
Exactly.
Insert here some more wild gushing about how wonderfully well the Galaxy Guitar is doing after the fix. HEAVY gushing!
With the fingers able to handle more, it gives more confidence and that makes the notes sound better. The worst is when a note sounds tentative and that will only happen if you don't reach for it strongly even if you touch it gently. Greater reliability in reaching for a note means it's possible to play at greater speed but I find at this stage that I'm not telling myself to go faster but rather to slow down.
I'm also telling myself I want some new stuff as playing the same chords in a different key doesn't make a new tune. The chords in "I Love Rats" are exactly the same as "Things Love Makes" but they're in different keys and it's remarkable how much difference that makes but they're still the same chords. Rod Stewart said he uses the same chords all the time because he likes them. Well, yeah, like that.
The above isn't technically true as playing the same chord relationships in a different key doesn't only change the pitch. The intervals between the notes vary with the different keys and that's what makes it interesting to change keys. Otherwise there wouldn't be much purpose and everything could be in the key of C without any loss. (I won't go on with this at length as you can study this one thing for the rest of your life ... and still find it interesting. If you want more then you might want to check out Leonard Bernstein's "The Infinite Variety of Music.")
So it felt very good playing. People who came to the show stayed to the end of it and that's the biggest thing to me. If they leave during the set then that only means one thing: YOU SUCK (laughs).
Cat and I couldn't dance but here she is looking hot and dangerous:
Now you can see her red nose and you know why I fell for her.
And here's the Hollywood close-up:
I don't know which movie but I'm going!
I'll be playing again tomorrow night at 6:00 pm SLT at Sister Julie's birthday party. It's the real thing as this is not her SL Rezz Day but rather her real birthday. I just learned some additional coolness as Max Kleene will be doing a short set there as well. And, yes, there will be pyro.
Max has great musical coolness as I've seen him jamming. Mostly he sings and plays guitar but in this jam he was spanking out a beat on a box to make some rhythm for other people. Got to make music any way you possibly can. Come to hear him tomorrow.
Cat believes strongly that a big stage show detracts from the music and, quite obviously, I disagree with that. What I believe is that the music and the lights combine as part of the transcendence. It's all part of getting to where the Necromancer lives and, as we hear in the song, that's a very, very long way from here and it takes all the energy we can bring to get to it. There's a very badly mistaken perception that this is all about escaping reality but it's nothing of the kind, rather it is using every bit of our resources and our consciousness to see and experience all of reality.
The physics applies as well as music is one set of frequencies in a much bigger spectrum in which harmonics have much greater significance than being limited to sound. The scales repeat from each end of the musical spectrum as what logical reason is for them to stop. Our mapping of the 'reality' of musical intervals is based on our view of the logic of it but there's nothing inherent in that logic that prevents extension of it to frequencies above and below those that are audible to us. Whether our mapping of scales is arbitrary and artificial or a reflection of a much greater reality is for you to decide and for the interested student to verify.
Yes, I really do think about stuff like this and, well, only for my whole damn life. It goes all the way back to running to all the concerts with Lotho as they were explosive in volume but the best ones were magnificent in lights. Cadillac Man went to a whole lot of these shows too as rich back then was having tickets to more than one concert in your pocket. Actually, relative to everyone else, Cadillac Man was rich because he, gasp, worked. I'm pretty sure it was the same with them that we weren't leaving reality behind as that's probably impossible anyway but what we did want was the most massive experience we could possibly find. And we were pretty good at it too!
(Ed: really kozmik, Silas. Was there a show, or what?)
Funny you should ask as, yes, there was. The show report is that the fingers are toughening up nicely. It doesn't matter how long you play as your fingers will get soft if you stop and then you have to toughen them back up again.
(Ed: so don't stop.)
Exactly.
Insert here some more wild gushing about how wonderfully well the Galaxy Guitar is doing after the fix. HEAVY gushing!
With the fingers able to handle more, it gives more confidence and that makes the notes sound better. The worst is when a note sounds tentative and that will only happen if you don't reach for it strongly even if you touch it gently. Greater reliability in reaching for a note means it's possible to play at greater speed but I find at this stage that I'm not telling myself to go faster but rather to slow down.
I'm also telling myself I want some new stuff as playing the same chords in a different key doesn't make a new tune. The chords in "I Love Rats" are exactly the same as "Things Love Makes" but they're in different keys and it's remarkable how much difference that makes but they're still the same chords. Rod Stewart said he uses the same chords all the time because he likes them. Well, yeah, like that.
The above isn't technically true as playing the same chord relationships in a different key doesn't only change the pitch. The intervals between the notes vary with the different keys and that's what makes it interesting to change keys. Otherwise there wouldn't be much purpose and everything could be in the key of C without any loss. (I won't go on with this at length as you can study this one thing for the rest of your life ... and still find it interesting. If you want more then you might want to check out Leonard Bernstein's "The Infinite Variety of Music.")
So it felt very good playing. People who came to the show stayed to the end of it and that's the biggest thing to me. If they leave during the set then that only means one thing: YOU SUCK (laughs).
Cat and I couldn't dance but here she is looking hot and dangerous:
Now you can see her red nose and you know why I fell for her.
And here's the Hollywood close-up:
I don't know which movie but I'm going!
I'll be playing again tomorrow night at 6:00 pm SLT at Sister Julie's birthday party. It's the real thing as this is not her SL Rezz Day but rather her real birthday. I just learned some additional coolness as Max Kleene will be doing a short set there as well. And, yes, there will be pyro.
Max has great musical coolness as I've seen him jamming. Mostly he sings and plays guitar but in this jam he was spanking out a beat on a box to make some rhythm for other people. Got to make music any way you possibly can. Come to hear him tomorrow.
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