I am Music

If you feel like listening to some Steely Dan, vintage 1993, this show is excellent. The band is to die for and it's nice to remember there's someone named Donald that I still really like. Check out this band:

Joining Fagen and Becker are:

Drew Zingg on lead guitar
Peter Erskine on drums
Tom Barney on bass
Warren Bernhardt on piano
Cornelius Bumpus, Chris Potter, and Bob Sheppard on saxophone
Brenda White-King, Diane Garisto, and Catherine Russell on backing vocals
Bill Ware III on the vibraphone
Boz Scaggs - guest appearance on Black Friday

That was from a good period, before Fagen's voice fried (regrettably, he has continued to tour long after he lost the ability to sing his own songs.) I notice that he is also soloing and playing a lot of keyboard. Since then he began to delegate those duties more and more to ace studio players that toured with the band.

Drew Zingg is a beast on guitar. One of my inspirations. Snazzy dresser, too.
 
That was from a good period, before Fagen's voice fried (regrettably, he has continued to tour long after he lost the ability to sing his own songs.) I notice that he is also soloing and playing a lot of keyboard. Since then he began to delegate those duties more and more to ace studio players that toured with the band.

Drew Zingg is a beast on guitar. One of my inspirations. Snazzy dresser, too.

Yes, one of the things I really like about this show is how good Fagen sounds. Becker, too. He kills it on both his songs. That band is the perfect balance of jazz, rock, and soul and Fagen curated that particular group of musicians from the best the various genres offer. I know some are from his fabulous Rock and Soul Revue. One of the backup singers, Diane Garisto, sang backup for Laura Nyro (always a plus for me lol). :)
 
A documentary about the Beatles' Sgt Pepper album is on the USA's PBS stations at 8pm Eastern time, so like in a very short time. Enjoy if you like this sort of thing!
 
This has been glued to my brain ever since that doc.....and what a great documentary it is.

Watching that equals instant happiness for me. :)

I loved that doc! One of the really surprising things in it for me wasn't even about the Beatles. When George Martin's son mentioned that one of the Beatle's musical influences was Greek scales, he also noted a few other bands that did it. One was the Grateful Dead. I've been watching the doc Long Strange Trip. I heard that aeolian scale in a bunch of places. I knew the Dead had an early folk music influence (as well as others) in their music, but not being a musician just never noticed it until now. All knowledge comes from the Beatles apparently. :D
 
Watching that equals instant happiness for me. :)

I loved that doc! One of the really surprising things in it for me wasn't even about the Beatles. When George Martin's son mentioned that one of the Beatle's musical influences was Greek scales, he also noted a few other bands that did it. One was the Grateful Dead. I've been watching the doc Long Strange Trip. I heard that aeolian scale in a bunch of places. I knew the Dead had an early folk music influence (as well as others) in their music, but not being a musician just never noticed it until now. All knowledge comes from the Beatles apparently. :D

Aeolian is also known as minor. It's the white keys on the piano from A to A, and you find it in virtually all music. The Dead were much more fascinated by Mixolydian, which is G to G on the white keys and is related to blues. If you play notes 1,3,5 and 7 of the Mixolydian mode, you get a 7th chord. It's how a harmonica works.

The Ionian mode is also known as major, C to C.

The other modes are more interesting and peculiar. They get used in jazz a lot -- Miles went through what is called his "modal" period, I think around the time of "Kinda Blue." The Phrygian mode, E to E, sounds very Arabic/Oriental and the fusion guys got into it big time around the time of Mahavishnu and Return to Forever.
 
Aeolian is also known as minor. It's the white keys on the piano from A to A, and you find it in virtually all music. The Dead were much more fascinated by Mixolydian, which is G to G on the white keys and is related to blues. If you play notes 1,3,5 and 7 of the Mixolydian mode, you get a 7th chord. It's how a harmonica works.

The Ionian mode is also known as major, C to C.

The other modes are more interesting and peculiar. They get used in jazz a lot -- Miles went through what is called his "modal" period, I think around the time of "Kinda Blue." The Phrygian mode, E to E, sounds very Arabic/Oriental and the fusion guys got into it big time around the time of Mahavishnu and Return to Forever.

Thank you for the kind correction and the technical info. :rose:

While I am not a musician I do know my Shakespeare. I even played Festa the clown from Twelfth Night when I was an undergrad. (Yes, a Jewish, female Festa. Oy!) So I knew The Rain It Raineth Every Day, for example. And I didn't make the connection until I watched that documentary and I thought about, again for example, Jerry's singing in that middle part of St. Stephen and realized the sound *was* similar to what I think of as early 17th C folk music.

Now Miles' modal music I know quite well and love. Just never thought about it in terms of ancient musical scales. My eagleyez adored the jazz fusion stuff Miles did with John McLaughlin. And he was a big fan of the Mahavishnu Orchestra, even saw them a few times back in the day. But like you, he was a musician, so I'm sure he thought about it in ways I never could.
 
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And I didn't make the connection until I watched that documentary and I thought about, again for example, Jerry's singing in that middle part of St. Stephen and realized the sound *was* similar to what I think of as early 17th C folk music.

Now Miles' modal music I know quite well and love. Just never thought about it in terms of ancient musical scales.

Yes, St. Stephen was from what I think of as the peak of the Dead's creativity. I heard them in 1969, and many times thereafter, and over time they began to sound more and more like a very fancy garage band. In '69 they were playing something akin to jazz.

The Greek modes are the foundation of all European music. The great revolution came with JS Bach, who discovered the well-tempered system which made it possible to modulate freely to all keys. When blues players discovered Bach, we got jazz.
 
This is such a lovable piece of music. It's tender, funny, dramatic, poetic, agitated and serene, and you know all those things are going on, but it's all a seamless whole.
 
I'm a big fan of Czech composers. Actually, it was the wind serenade that I posted above that started it for me. I heard it on the radio, and it launched a 5 year research craze where I started with the brilliant Jan Dismas Zelenka and worked my way up to Leos Janacek and Bohuslav Martinu.
 
I'm a big fan of Czech composers. Actually, it was the wind serenade that I posted above that started it for me. I heard it on the radio, and it launched a 5 year research craze where I started with the brilliant Jan Dismas Zelenka and worked my way up to Leos Janacek and Bohuslav Martinu.

Then I hope that you will like also:


(This, I think, is a nice recording; however, I'll provide two more--one is outstanding, while very serious, and the other is light and in its way very nice).
 
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I've found Piscator's Golden Shovel Challenge to be both interesting and difficult. Difficult because trying to construct something coherent (and with at least minimal artistic value) from one or more lines of a song (complete with the articles, pronouns, conjunctions, and the other connective tissue of a sentence that doesn't make for brilliant line breaks) is, well, hard. Really hard. Often, the lyrics don't help.

Take those in this song, which was one I wanted to use because of its great (approved by Frank Zappa) guitar riff by Tony Iommi. I mean, look at these lyrics:
I want to reach out and touch the sky
I want to touch the sun but I don't need to fly
I'm gonna climb up every mountain of the moon
And find a distant man a-waving his spoon​
I suppose I could make something of that, if I really tried. Like, maybe
Bad Date

He's left a-waving
something like manlihood, his
.....need cupped like a spoon.​
But I wouldn't want to. So, sadly, I had so scratch Black Sabbath off my list.

I can, still, link this other Black Sabbath song, because, well, loud sometimes is good.

And I liked the movie.
 
VALSE & FUGUE INNER MIST OVERTURE
by me

Some of the poems I publish in this forum are from set songs which they may be finished or still in manuscript, but once a melodic idea has been finalized in my head I start sometimes a much more involved process of exploiting it for full orchestra, irrespective of the lyrics, but only if I consider the lyrics important enough and worth the required music effort. So is the following orchestral overture in two parts immediately connected with my acrostic Wet Dream of Long Ago
One of my main artistic objectives in terms of sound was how to travel back in time from around 1850 to around 1720 and change the style from romantic into baroque. The full score can be followed easier in full screen mode-of course it is a midi mock-up of an orchestra, but not too bad as such… there are not many composers who can afford real orchestras now a days, we are a dying breed.
 
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