YTSEJAM Digest 475
Topics covered in this issue include:
1) Helstar
by h8ed035@stan.xx.swin.OZ.AU (THOMSON E)
2) TAB: Killing Hand - acoustic intro
by MHEATH@morgan.com
3) Re: Stop fighting over time sig of WfS!!!
by Garrett M Sanborne <gmsanbo@locke.ccil.org>
4) Re: Wait for Sigs. :)
by Garrett M Sanborne <gmsanbo@locke.ccil.org>
5) Re: Wait for Sigs. :)
by Eric Moegling <emoeglin@bigcat.missouri.edu>
6) Petrucci's clinic at NGSW
by "James Studnicki (HON)" <studnick@soleil.acomp.usf.edu>
7) Re: YTSEJAM digest 474
by SVanHooser@aol.com
8) Re: Wait for Sigs. :)
by Christopher Taylor Oates <aspect@cats.ucsc.edu>
9) Rush Montage Tape Complete!!!
by Michael Bahr <garion@indirect.com>
----------------------------------------------------------------------
Topic No. 1
Date: Mon, 1 Aug 1994 14:33:25 +1000 (EST)
From: h8ed035@stan.xx.swin.OZ.AU (THOMSON E)
To: ytsejam@bnf.com
Subject: Helstar
Message-ID: <9408010433.AA27614@stan.xx.swin.OZ.AU>
Howdy guys/(girls?). I was just wondering if anyone had heard of
a band called _Helstar_? They are a few years old and I think the CD I have
_A Distant Thunder_ has been deleted. They are more speed metal than DT, but
the harmony guitar work is very good, if you like that kinda thing anyway.
This may be a foolish and silly thing to say...but....
"I'm looking forward to _Awake_"
- I can be quoted on that if you like. :)
Evan Thomson
"No gratuitous song quote at the end of my letter..."
------------------------------
Topic No. 2
Date: Tue, 2 Aug 1994 01:51:00 -0400
From: MHEATH@morgan.com
To: ytsejam@anthor.arastar.com
Subject: TAB: Killing Hand - acoustic intro
Message-ID: <94Aug2.005155edt.41385@gateway.morgan.com>
Hi, I sent this to Jason. He reckoned that everybody might like to see
this, is this true? am I cluttering up the net? This is paraphrased
(and corrected) from my book.
Jason: the 'H' in bar 1 is supposed to be a 'hammer on', you don't pick
the second note, just use the fretboard hand to make it sound. A slur would
be the equivalent on the piano (I think). Also you don't play the 8th and
5th fret on the same string simultaneously on 1 guitar, you play the 8th
fret on 1 guitar and then overdub a second playing at the 5th fret.
The 10/10 at the end means both melody guitars play the same note. In the
penultimate bar either 1 guitar plays the notes or both do - I would have
to listen to the original again to see.
Martin.
----------( Forwarded letter 1 follows )----------------------------------------
Date: Mon, 1 Aug 1994 16:57:18 +0900
From: mheath (Martin Heath)
Message-Id: <199408010757.AA17348@tkdev1.morgan.com>
To: mheath
Rhythm is 4/4 (common time), all notes on bottom save are 8th notes (2
notes per beat) except the last 5 (on each stave) that are all on the beat.
Notes on the top stave are to be played with the corresponding ones on the
lower stave. There is 1 guitar playing arpeggios, 1 guitar starts with the
melody, this is joined by another in bar 9 that plays harmony with it.
All notes on the top stave are on a beat. Key of Dm.
If two notes appear as 8/5 then they both should occupy the same space on
the page, i.e. they should be played simultaneously.
Dm Csus2 Am
|------------------|-----------------|-----------------|------------------|
|--------------5---|-6---------------|-5---------------|---------5--------|
|--7---------------|-----------------|---------7-------|-5----------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|
|-----------H------|-----------------|---------3-------|---------5--------|
|--------6-5^6-----|-----------------|-------3---3-----|-----------5------|
|------7-------7---|-----Repeat------|-----5-------5---|-------5-----5----|
|----7-----------7-|-----------------|---5-----------5-|-----7---------7--|
|--5---------------|-----------------|-3---------------|---7--------------|
|------------------|-----------------|-----------------|-5----------------|
Dm Bb C
|------------------|---------5-------|-----------------|------------------|
|--------------5---|-6---------------|-8-------6-------|-5-------5--------|
|--7---------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|
|----------5-------|-----------------|---------6-------|---------8--------|
|--------6---6-----|-----------------|-----------6-----|-----------8------|
|------7-------7---|-----Repeat------|-------7-----7---|-------9-----9----|
|----7-----------7-|-----------------|-----8---------8-|-----10--------10-|
|--5---------------|-----------------|---8-------------|---10-------------|
|------------------|-----------------|-6---------------|-8----------------|
|------------------|-5---------------|-----------------|------------------|
|--6-----------8/5-|-6---------------|-8/5-----6-------|-5-------8/5------|
|--7---------------|-----------------|---------7-------|-5----------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|
| Lower stave repeats previous 8 bars.
|------------------|-5-------8/5-----|-6-------5-------|---------8--------|
|--6-----------8/5-|-6---------------|-8-------6-------|-8/5-----8--------|
|--7---------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
|------------------|-----------------|-----------------|------------------|
Dm
|--------------5---|-10/10-----------|
|------5---6-------|-----------------|
|--7---------------|-----------------|
|------------------|-----------------|
|------------------|-----------------|
|------------------|-----------------|
|
|------------------|-5---------------|
|--------------6---|-----------------|
|----------7-------|-----------------|
|------7-----------|-----------------|
|--5---------------|-----------------|
|------------------|-----------------|
------------------------------
Topic No. 3
Date: Tue, 2 Aug 1994 00:17:26 -0400 (EDT)
From: Garrett M Sanborne <gmsanbo@locke.ccil.org>
To: ytsejam@anthor.arastar.com
Subject: Re: Stop fighting over time sig of WfS!!!
Message-ID: <Pine.3.89.9408020017.A3116-0100000@locke.ccil.org>
>
> 1 2 3 4 1 2 3 4 1 2 3 4
> XxxxXxxxXxxxXxxxXxxxXxxxXxxxXxxxXxxxXxxxXxxx
>
> Now this WOULD look funny written on a page but its complety "legal".
> BTW - that is in 7/8 in case you couldn't tell. The accents are certainly
> in unusual locations and they don't fall on the strong beats (1,2,3, or 4),
> but because of the way the composer wrote it, its STILL is in 7/8 time.
We're speculating on WFS by the same method you have shown that
this above is 7/8. Sure, there are many ways of saying it, but the most
obvious (according to repeated patterns and phrasing) is what we're
talking about here.
> I'm trying to say that all of your thoughts and guesses reguarding the Wait
> for Sleep time sig are fine, but I just don't want people to starting
> pulling out the flame throws and saying who has the "correct" time sigs.
>
> I could say the whole song is in 1/8 and you couldn't prove me wrong. :)
If you want to be disgustingly technical, yes, but there IS a
"best" way of writing it. For the same reasons a measure of 4/4 can be
thought of as two measures of 2/4 or any of dozens of combinations, we
are making the best possible arrangement.
GMS
*-------------------------------------------------------------------------*
| Garrett M. Sanborne gmsanbo@locke.ccil.org |
| gmsanbo@chopin.udel.edu |
| "Do what you love, the rest comes." "Huh huh .. drums are cool." |
*-------------------------------------------------------------------------*
------------------------------
Topic No. 4
Date: Tue, 2 Aug 1994 00:24:05 -0400 (EDT)
From: Garrett M Sanborne <gmsanbo@locke.ccil.org>
To: ytsejam@anthor.arastar.com
Subject: Re: Wait for Sigs. :)
Message-ID: <Pine.3.89.9408020034.B3116-0100000@locke.ccil.org>
>
> ANyways, the opening part absolutely, is in 5-5-5-4-6-6-6-4 repitions.
> the melody is layed out as follows:
>
> b ab b ab b ab d c b ab b ab g fg f e d
> 12345 12345 12345 1234 123456 123456 123456 1234
>
> with the f's being f# actually...
Great job! I agree completely. I figured it out the same. You
could call it 5/8 or 5/4 or 5/1 but it's all the same.
> of course, it all changes later when he switches to the 6/8 part...
I believe the melody itself goes down an octave, but not sure.
G
*-------------------------------------------------------------------------*
| Garrett M. Sanborne gmsanbo@locke.ccil.org |
| gmsanbo@chopin.udel.edu |
| "Do what you love, the rest comes." "Huh huh .. drums are cool." |
*-------------------------------------------------------------------------*
------------------------------
Topic No. 5
Date: Tue, 2 Aug 1994 00:24:43 -0500 (CDT)
From: Eric Moegling <emoeglin@bigcat.missouri.edu>
To: Christopher Taylor Oates <aspect@cats.ucsc.edu>
Cc: Multiple recipients of list <ytsejam@anthor.arastar.com>
Subject: Re: Wait for Sigs. :)
Message-ID: <Pine.3.89.9408020036.A17601-0100000@bigcat>
I once again disagree with you...as with everyone else...but not on the
"Mystery" part...you said it went into 6/8 after that part, when it is
indeed in 4/4 with a triplet feel...sorry to ruine your day, but if you
didn't get that, then I'm kind of wondering about your idea for the
"Mystery" part. I'm not trying to make you feel stupid, just informing
you, and for all I know you could be right with the "Mystery"...so Take
it easy...have fun, and keep up the work! Later!
-----------------------------------------------------------------------------
According to the circle of fifths, and the pattern of sharps and flats:
If the alphabet continued as notes progressed (Using Major Key Sig's) (i.e
A, B, C, D, E, F, G, H, I, etc.) eventually the key of Z Major
would have 4 sharps.
emoeglin@bigcat.missouri.edu
ERIC MOEGLING:
emoeglin@freenet.scri.fsu.edu
-----------------------------------------------------------------------------
------------------------------
Topic No. 6
Date: Tue, 2 Aug 1994 00:52:53 -0400 (EDT)
From: "James Studnicki (HON)" <studnick@soleil.acomp.usf.edu>
To: ytsejam@anthor.arastar.com
Subject: Petrucci's clinic at NGSW
Message-ID: <Pine.3.87.9408020053.A20875-0100000@soleil>
Hey everyone --
I'm back from spending two weeks at the National Guitar Summer Workshop.
It was a great experience and I picked up a TON of new ideas and
information, but two weeks is WAY too long to attend. A week will be
sufficient next year.
As you've guessed from the subject heading, John Petrucci just happened to
drop in on Monday, July 25th to do a clinic and participate in an evening
faculty jam. It was . . . interesting, to say the least. John
demonstrated to everyone at the clinic that he is simply an amazing
technical player. His picking technique is excellent, and he showed
physical mastery of the guitar. Unfortunately, that's about it. John
played the same licks, over and over and over and over. At the faculty
jam that night, he played the same damn licks and was out of ideas after
about three minutes, after which he began repeating himself. Everything
he played sounded like excerpts from the "Under A Glass Moon" solo.
Imagine hearing that over a funk groove. NOT. It just didn't work.
John's great with Dream Theater, but he simply is not good at coming up
with fresh ideas on the spot and he can't jam well with other people.
Period. I'm not bullshitting you guys at all -- I was there, in the
second row. When the other faculty members were soloing, John stepped on
their toes. He was way too loud (his stage volume, not the PA mix) and
nothing he played showed very much taste at all. There was one thing
where they jammed on a Comfortably Numb - type vibe, and he actually
deigned to play something slow and melodic during the beginning of that
(I'd even say it sounded good), but the effect was pretty much ruined when
he burst into a stream of rapid-fire tripletted sixteenth notes, over and
over again. No, I didn't tape it -- but plenty of people taped both the
clinic and the concert, so don't be surprised if those tapes pop up soon.
You think it's hard to believe? I was shocked. Before I saw this I was
one of the biggest John Petrucci fans in existence. Now I'm really not
interested in him as a guitar player at all. I still love Dream Theater
and what they're about, but John is a member of that band and only a
member. He can't function by himself. Oh yeah, the album release date
is still set for the 4th, and there will be real drums on this record. I
asked John myself and he said that Mike hates the drum sounds on I&W and
will definitely use real drums this time around. I guess that settles
the "real vs. sampled" debate.
Sorry to post this unhappy message, but I'd feel guilty if I didn't tell
you guys about seeing Petrucci. On the bright side, there were lots of
really excellent all-around players up there. Andy Timmons was just
fabulous. I also got to study with Scott Henderson and Frank Gambale for
a week. Lots of good jazz theory stuff there. There's a guy named Matt
Smith who is a clinician for Ovation and Hamer. He's another excellent
player, as well as a great human being. Perhaps the most impressive
display of sheer musicianship I saw was a guy named Ernie Jackson. He
plays 10 and 11 string classical guitar, but he also plays Stick and BURNS
on electric. He can easily pick way, way faster than anyone out there,
but he's so creative that the main attraction is his songs and the guitar
textures he creates. Unbelieveable player.
Oh well, that's about it. Please, no flames -- I don't want to hear
anyone spewing explatives at me through their fucking hole unless they
were actually there, in person. Even then, they'd have to be a musically
ignorant dumb shit to say that he played well. Correctly, yes. Musically
and tastefully, hell no. Sorry. Oh yeah, all of this is, of course,
IMHO. ;>
Jim Studnicki
studnick@soleil.acomp.usf.edu
University of South Florida
Tampa, Florida, USA
------------------------------
Topic No. 7
Date: Tue, 02 Aug 94 11:51:27 EDT
From: SVanHooser@aol.com
To: ytsejam@anthor.arastar.com
Subject: Re: YTSEJAM digest 474
Message-ID: <9408021151.tn507224@aol.com>
Whoa. I just got Lost in the Sky, and I'm happy that John Myung's base solo
actually came through! My friend and I spent many moments trying to air-bass
the solo, but we just couldn't! If he played any faster, they would have to
record him using analog equipment!!!!!!
Steve
------------------------------
Topic No. 8
Date: Tue, 2 Aug 1994 16:12:21 -0700 (PDT)
From: Christopher Taylor Oates <aspect@cats.ucsc.edu>
To: ytsejam@anthor.arastar.com
Subject: Re: Wait for Sigs. :)
Message-ID: <Pine.3.89.9408021625.A8572-0100000@am.ucsc.edu>
Well, you can call it 4/4 if you want, and it does have the feel, since
the only notes are on those beats, but each quarter note in your 4/4 time
is equal to 3 eigth notes in the earlier parts, which would necessitate a
tempo change as well as the meter change. My original thought was that
the part was in 12/8 which REALLY feels like 4/4 but I switched to 6/8,
thinking that that matched the later part where the mystery part switches
to all 6/8 repeats...
So, you are correct that it is 4/4 in terms of feel, but I still say 6/8
in terms of ease of transcription. :)
~Chris
------------------------------
Topic No. 9
Date: Tue, 2 Aug 1994 03:14:01 -0700 (MST)
From: Michael Bahr <garion@indirect.com>
To: ytsejam@bnf.com
Subject: Rush Montage Tape Complete!!!
Message-ID: <199408021014.DAA22571@id1.indirect.com>
Ooooooh man! I feel like I just gave birth... to an accountant!
:) After long hours of tape-digging, compilation, and re-doing the copies
until it fit right, the Rush Video Montage is ready to go, to be
available first and foremost to all of you here on Ytsejam! (TNMS
prohibits advertisement of this sort, and alt.music.rush will get theirs,
albeit a bit later on and for a higher price).
I can honestly say that this tape will be heaven on earth for all
progressive music fanatics and to RushFans in particular. It's even
entertaining to me, and I've watched it a couple dozen times already just
putting it together! :) It was mostly re-copying, since I didn't want to
throw any generations down the drain, and on the other hand it didn't fit
right the first few times (or dragged in parts) so I've been through a
few Maxells getting it ready. :)
Here is the brief version of the video listing:
Stick It Out
Tom Sawyer (studio version)
TV clip: Geddy Lee singing Au Canada at the World Series
(NOT all star game!!! It's Toronto vs. Atlanta, look at the uniforms!)
Show Don't Tell
The Big Money (full-length version)
TV clip: 1984 interview in Tokyo
La Villa Strangiato (studio version)
Best I Can (live)
In The Mood (live)
Finding My Way (live)
TV clip: 1980, Geddy Lee heavily stoned
A Farewell to Kings
Fly By Night
TV clip: 1979, and the Temples of Syrinx video short
Anthem
TV clip: Rush getting the Juno Group of the Year 1978
War Paint (from Pay Per View 1990 concert)
La Villa Strangiato (Pinkpop festival live TV clip)
Circumstances
TV clip: Geddy in 1988 on The Rush Hour
Scars (from Pay Per View)
Xanadu
Superconductor
TV clip: Neil Peart interviewing Jean Chretien
TV clip: Counterparts album ad
Roll The Bones
The Pass
TV clip: That's all, folks!!
To say you're getting your money's worth would be gross
understatement, I do believe. (grin)... sorry to seem all pumped up about
it, but I am! I think you'll all enjoy this tape quite a bit! And, at the
price I'm offering it for, you'll want the lowest possible generation
copy. I'm going to let it go for US$6.00 a copy for the first 50 copies.
Then, when that's exhausted, I'll go to the alt.music.rush and offer it
for $8.00 a copy. PAL TV users: I'm sending one of the first sale copies
out to a fellow in the UK who will convert it to PAL,and then sell
low-gen copies in Europe from his (one generation higher) master. Your
payment will then go to him.
How to order!!!!!
It's EASY. Get a cashier's check, money order, or if that's not
possible, a personal check (warning! I'll vent my wrath upon check
bouncers) but NOT CASH! for $6.00 in US funds, and send to:
Feel The Rush! Music
Michael Bahr, Staff
3383 W. Monterey St.
Chandler, AZ 85226 (USA, if necessary)
Enclose an additional $4.00 if you'd like a copy of the Neil
Peart Solo Montage, the original compilation I had done from a few months
back. It fills a 90 minute audio cassette and is a montage of Neil's
solos from 1974 to 1994, and many in between.
Simply enclose a note in your mail saying who you are, what your
mailing address is, what your NET address is (I will mail confirmation
notices to anyone whose order I receive) and which tape(s) you want!
A note about quality: this was compiled on two SVHS vcr's, the
finest equipment available to consumers today. Your copies will be
recorded on Maxell HGX-Gold VHS tape, or, for a price of $14.00, on
Maxell-S Black Magnetite SVHS tape (Best copy!) The master copy is on a
Maxell-S tape as above. Audio tapes will be Maxell XL-II high bias,
copied on a Pioneer CT-403R component dual tape deck. Your copies of
either recording will be accompanied by a setlist and cover art.
Here's hopin' for some positive reviews! All of you who get this
tape, please post your thoughts to Ytsejam, I'd love to see them, and so
would other buyers...!
Mike/garion@indirect.com/belar@aol.com
------------------------------
End of YTSEJAM Digest 475
*************************
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