M Database Inspector (cheetah)
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|Sat, Jun 07 2008||100||Blues Scale||
|Thu, Feb 21 2008||100||Wawi||
Two Minds. One Single Memory!
They are begining to separate and wonder somewhat apart about the neck, still strongly correlated.
|Sun, Dec 02 2007||100||Little Fingers||
The octaves version of wiwa3 is almost
ready to start making recordings again.
I'm probably no more than a month away.
There's a lot of two hands going on, mostly together,
an octave apart, or alternating at high speeds.
I also still miss a few fingers here and there,
especially with the little ones, even with the left hand.
So I developed a little exercise for the little fingers.
Stanley was right yet again.
Once each hand separately knows an exercise
to a reasonable basic slow level,
playing octaves is easy and I get to practice both hands
as well as coordination, all at the same time.
With alternating octaves the focus is more on
rythm and coordination,
at a relatively slower pace,
as it sounds double the pace.
Alternating octaves are great for practicing at low speed
while the outcome is a pleasant high paced rythmic melody.
The first wiwa2 solo has a little fingers 1/8 sequence
that has given me a hard time for quite a while now.
Combined with the original little fingers exercise
I put together a sequence I can better relate to,
and so make it a part of the list of regular exercises.
|Thu, Nov 08 2007||100||The Groove||
But keep that one going, no matter what,
cause thats your groove.
|Tue, Sep 11 2007||200||Two Hands On the Neck||
Wind surfing was easy enough.
Helicopter flying took quite some practice before I got it right.
With the drums, I got just up to basic rock,
and like all musical instruments,
it sort of got negleted and froze there.
Piano I never did.
But the notion of separation of controls is not foreign.
Some guidance doesn't hurt though, to say the least.
Minor problem: My right hand doesn't know how
to play at all, and there is not much to separate,
so I shifted focus after this experiment.
At least now, while the right hand learns how to play,
the left is giving it rythm.
Nevertheless, the two really bad guitar players are a joyful experiment.
|Sat, Jun 30 2007||900||Ducks||
The Hunger was nice but its just a silly rythm.
It is funny how success automatically
sprays arrogance liquids over the brain,
clouding it with delusions of grandeur.
I have yet to create my first true original piece of music,
and yet I can not create anything,
as I am not truly a musician yet,
so I must copy someone else's work still,
or else it will be beyond my skills.
But I am a professional listner of
70s rock music since teenhood,
and would not compromise on low quality or very few tracks,
having followed The Beatles track expansion history in my teens.
Nor will I degrade myself to a short piece,
now that I am so damn arrogant.
Damn, I want at least twenty minutes,
and even with copying,
I must tell you,
playing the guitar is not like pressing
a button on a xerox machine.
Copying takes time too - lots.
So I can't copy if I want to die a musician,
It will take too long,
and I am young and agile and arrogant,
and want things right now.
So I made an experiment.
I took three of the Crickets III rythms my fingers
know so well by now,
and recorded them one on top of the other.
I forgot to mention this is several weeks
after I changed my guitar to Stanley Jordan's
fourth tuning, after long and painful hesitation.
The last two strings are now named after Camel and Frank Zappa
rather than Bob Marley and Keith Emerson
I had to re-learn all the chords,
and instead decided to skip the usual chords
I had previously known,
and only learn new chords with the touch technique,
one at the time as I need them.
This was very time conserving.
It is always like that when you avoid doing rather than do.
I did a bit more inspection on the net regarding voicing -
a concept I had just recently heard for the first time,
after watching Stanley Jordan's video for the seventh time.
With the new forth tuning it was almost too easy
to find new and simple voicings on the higher
side of the neck.
Back to the ducks, the experiment was a shear wow.
It sounded like chords, marching.
The rest was easy.
I took from the Hammerhead Rythm Station Software a
Basic Rock beat at 240, which I later discarded,
and created a metronome-like track with the A note on the one.
This was quite boring, so I only did five minutes,
and I doubled it with Audacity.
And again, ending with twenty minutes.
The A track reminded me of the chaos in
Strawberry Fields Forever,
especially with the semi chaos I had just heard
in my experiment.
So I tagged this piece up front,
only to discover its a B,
and that Audacity nicely brings it down to an A,
with a menu button.
I also tagged one in the back,
to make sure my lack of confidence is not lost by anyone,
as if someone is actually listening to my music.
My fingers only knew six separate
sequences from Crickets III,
so I recorded six tracks.
Given I had just recorded about all I know how to play,
save The Hunger rythm,
I thought it might be good for the general chaos
to throw this one in as well.
Chaos must be a good way to start something
or else God would have started somewhere else.
The result was awesome, and only later I came up
with the name.
I can picture a scene from Fantasia.
At first there is a chaos of ducks, trying to find
the better way to be obidient to the rest of the ducks.
It takes them about forty seconds to all start tilting together,
except that one little duckling is always begging for help.
This was when in the high pitch sequence
I decided to reverse the one and the three,
so that the A falls together with more
other As from the other sequences.
It seemed like a good idea at the time,
and the result was hilarious,
though not remotely resembling goals or expectations.
The hunger was about the same.
Only after I already had the Fantasia mental picture in place,
and since I recorded the hunger track unevenly,
mixing the base sequence on the same track alternately,
from shear exaustion, by the way,
it occured to me it is actually mother duck,
making sure everyone is in line,
which they hardly ever are all at once.
After all, I don't quite know how to play yet.
And so I raised a bit the volume of this track.
And if you listen very carefully,
then towards the end there is one duck,
perssitently yelling a bunch of U2s,
for the benefit of the other ducks.
|Fri, Jun 29 2007||100||The Hunger||
I was hungry for creativity, now that I can play.
Not that I can or anything, but my Spinnaker
is fully inflated and I simply can not stop.
I must do something original,
and yet again without a single note truly new.
When Catherine Deneuve
protects Susan Sarandon
from being run over by a truck,
using shear magic,
bacuase David Bowie had just eaten
her forteen year old future mate for life,
and so she must protect her new aquisition,
then surely those several minutes of a mystic sequence
desrved good music.
So I chased down the scene with virtualdub.
Since I have watched the movie many times in the past,
it is easy to scan through, only later to listen.
But the truck is very low in pitch, lower than the guitar.
The director and musician made sure it makes
a perfectly pitched tone, and in the proper scale.
Its a great rythm for me.
Its based on the few notes from A minor that
Shira uses all the time,
so it automatically rings pleasant in my ears.
It is very simple and I can follow Stanley Jordan's
instructions easily and build the rythm as if from
two or three independent much simpler rythms,
just like in the instructional video.
Like many other parts of the video,
I didn't dare touch this one for some time,
but have watched it several times over,
so by the time I got to actually do something,
I didn't need to rewatch it at all -
I just worked off of memory.
Slight problem though,
the truck is low at the far left end of the neck,
even when a few octaves higher than the original,
while all other notes are on the far high side by the bridge.
I have yet to raise my right hand past
the volume control for some months now -
ever since I stopped picking the strings atop the pickups.
Well, it was about time.