Finding a lost chord doesn't matter to me as my interest is finding out how the existing chords for "Cool Enough for Cat" work the best. This one changes just about every time I play it as there is definitely coolness in it ... but ... it needs more.
Sometimes people say loopers are so easy, aren't real, etc, etc but it would be vastly easier to do what I do with a band. For the latter, I might say something like bring up the bottom for a count of four and I'll come in on one. Problem solved in 1.7 seconds.
The above is not how it goes with a looper. I have three unique segments and the objective is to switch fluidly between them. However, there is no bridging mechanism in a looper. Playing a song any other way and you can always make a bridge. Play a wee bit of musical trickery and then come back in with the new bit. That's effortless, the looper not so much.
This is not a whine as it's one of the most intriguing puzzles in a long time and it draws me the same way as data processing in which there isn't one person in the Universe you can call. Solve it yourself or, well, die along with the millions of dollars in equipment your lameness is supposed to be supporting.
The first part of this bit is in "The Beach with Orange Sand" and I have no idea if anyone even listened to it but that's now the base version. In that one, there's a second segment that introduces the first ... but there's no way to get back to it to use it again. I wanted to go back to it but as I was playing there was no path back into it that would have made any sense. That's the puzzle I want to solve ... and there's also now a third bit that's a drone on a single chord because this gives tremendous freedom to go outside the scale. Voodoo said this is 'modal jazz' and the idea of this is most amusing to me as I see my ol' Dad falling out of his chair laughing. You're playing what???
Sometimes I think Voodoo must scratch his head and think, damn, how could you play for so long and not learn anything. But that was the point. I didn't want to be influenced by anything, that whatever came had to come from inside and I wasn't stealing it from somewhere. After all this time, I discover that it doesn't come from inside at all, you just have to make yourself receptive to it. "The Necromancer" isn't an idle fancy as I believe it's true. Whether there's a Necromancer out there, I don't know, but I do believe there is a shining source of music, love, and every good vibe inside us. I don't believe learning music is so much the overt act of learning scales but rather it's learning how to be a channel suitable for the music to come through you.
I realize this song is turning into the Cat Symphony but I don't see a problem with that.
Sometimes people say loopers are so easy, aren't real, etc, etc but it would be vastly easier to do what I do with a band. For the latter, I might say something like bring up the bottom for a count of four and I'll come in on one. Problem solved in 1.7 seconds.
The above is not how it goes with a looper. I have three unique segments and the objective is to switch fluidly between them. However, there is no bridging mechanism in a looper. Playing a song any other way and you can always make a bridge. Play a wee bit of musical trickery and then come back in with the new bit. That's effortless, the looper not so much.
This is not a whine as it's one of the most intriguing puzzles in a long time and it draws me the same way as data processing in which there isn't one person in the Universe you can call. Solve it yourself or, well, die along with the millions of dollars in equipment your lameness is supposed to be supporting.
The first part of this bit is in "The Beach with Orange Sand" and I have no idea if anyone even listened to it but that's now the base version. In that one, there's a second segment that introduces the first ... but there's no way to get back to it to use it again. I wanted to go back to it but as I was playing there was no path back into it that would have made any sense. That's the puzzle I want to solve ... and there's also now a third bit that's a drone on a single chord because this gives tremendous freedom to go outside the scale. Voodoo said this is 'modal jazz' and the idea of this is most amusing to me as I see my ol' Dad falling out of his chair laughing. You're playing what???
Sometimes I think Voodoo must scratch his head and think, damn, how could you play for so long and not learn anything. But that was the point. I didn't want to be influenced by anything, that whatever came had to come from inside and I wasn't stealing it from somewhere. After all this time, I discover that it doesn't come from inside at all, you just have to make yourself receptive to it. "The Necromancer" isn't an idle fancy as I believe it's true. Whether there's a Necromancer out there, I don't know, but I do believe there is a shining source of music, love, and every good vibe inside us. I don't believe learning music is so much the overt act of learning scales but rather it's learning how to be a channel suitable for the music to come through you.
I realize this song is turning into the Cat Symphony but I don't see a problem with that.
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