YTSEJAM digest 476

From: ytsejam@arastar.com
Date: Wed Aug 03 1994 - 09:46:54 EDT

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YTSEJAM Digest 476

Topics covered in this issue include:

  1) boot names
        by "Brian V. Cox" <bvc8995@tamsun.tamu.edu>
  2) _my_ WFS sigs&notes (/GIF included) :)
        by Christopher Taylor Oates <aspect@cats.ucsc.edu>
  3) Re: boot names
        by Christopher Taylor Oates <aspect@cats.ucsc.edu>
  4) Re: boot names
        by Eric Moegling <emoeglin@bigcat.missouri.edu>
  5) Re: Wait for Sigs. :)
        by kbibb@arastar.com (Ken Bibb)
  6) SHOCKWAVE 'ZINE
        by kbibb@arastar.com (Ken Bibb)
  7) Petrucci at clinic
        by MikeP81576@aol.com

----------------------------------------------------------------------

Topic No. 1

Date: Tue, 2 Aug 1994 23:30:41 -0500 (CDT)
From: "Brian V. Cox" <bvc8995@tamsun.tamu.edu>
To: ytsejam@anthor.arastar.com
Subject: boot names
Message-ID: <199408030430.AA29766@tamsun.tamu.edu>

> From: Michael Burstin <mikeb@cs.brandeis.edu>

> I do remember seeing some quite funny names... and origional... I
> really love some of the boot CD names... Lords Of Sound, Consciously
> Unreal... where do people come up w/ these... I mean, LitS, DoE...
> those come from song names... HSH comes from the first line on the
> boot, but some are quite interesting... to say the least...

my favorite boot names:

Rush "Bone the Rolls"
Primus "Master of Puppies"
Queensryche:
        "Return of the Empire"
        "Empire Strikes Back"
        "Last Strike of the Empire" ---- trilogy
Queensryche "The Nobility of Toxic Pharmaceuticals"

And on a final note, as i posted last year, along with the notes, the
time sig for the intro of wait for sleep is:

10/8 9/8 12/8 10/8

if you want to break it into 5/8 and such, fine. 1/8 is pushing it though :)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~ Brian V. Cox ~~~ "The mirror never lies" - Queensryche ~~
~ BVC8995@tamsun.tamu.edu ~ "The mirror always lies" - Rush ~
~~ ~~~ ~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

------------------------------

Topic No. 2

Date: Tue, 2 Aug 1994 23:51:11 -0700 (PDT)
From: Christopher Taylor Oates <aspect@cats.ucsc.edu>
To: ytsejam@anthor.arastar.com
Subject: _my_ WFS sigs&notes (/GIF included) :)
Message-ID: <Pine.3.89.9408022337.A2417-0100000@am.ucsc.edu>

Okay, here's my interpretation of the opening part. SOme of the bass
notes I had to guess at. I've included a uuencoded .GIF of what my
notation program spit out... it's only 7K, so it's pretty quick to check
out. As a note, when played at a tempo of 165, this matches exactly the
CD. I did it several times, and it fit perfectly until the sig switch...

It's just one repition through the theme, so play it without the bass
notes once through to make it sounds more like the album :)

~Chris

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M272C5/===^-]MUUXZ\UQ1GK7E5=?>_MML=^7V/5W8'[W[1(;9,-:AXHOS1LV
M6\.N]5;;#"$VM9.&?0/WVQ98S4%#<3D.F>*'BPU"HT",?2/:C4G^5-;]7K8X
M#^@FAC!C:5M.K[DXG?5YYF9U%LU1HE]*A5$H2A89MYA_!GJYIX$=">=N;9;'
MX;%8EEKHH*WMN#YE!YOC5Z^M[OK6ILL>F<&EG9XI4EAE#M=3L@FU2>O5_N[&
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M= L:'<E(0@[M+?GS8R3K>!)#EDIWW+"$""%9.$I^LI(4#)T+A>BN&IYRB/=2
M)416^4I5QA*6LW21*6EYRWC!86]G1. B-SA!U8A2F,,DYF7>-"'62%& UL-C
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M^E*8QE2F,Z5I36UZ4YSF5*<[Y6E/??I3H 95J$,E:E&->E2D)E6I2V5J4YWZ
M5*A&5:I3I6I5K7I5K&95JUOE:E>]^E6PAE6L8R5K6<UZ5K2F5:UK96M;W?I6
,N,95KG.E*QPB [

end

------------------------------

Topic No. 3

Date: Tue, 2 Aug 1994 23:55:34 -0700 (PDT)
From: Christopher Taylor Oates <aspect@cats.ucsc.edu>
To: ytsejam@anthor.arastar.com
Subject: Re: boot names
Message-ID: <Pine.3.89.9408022339.A2417-0100000@am.ucsc.edu>

> And on a final note, as i posted last year, along with the notes, the
> time sig for the intro of wait for sleep is:
>
> 10/8 9/8 12/8 10/8

That works, except (you knew it, didn't you) that 9/8 is usually done as
three groups of three notes. Yes, it can be done as a complex 9 (I'd
call surrounded in a complex 9 (the opposite is a compound nine)

I think it's easiest from a player's point of view to see it as
5-5-5-4-6-6-6-4 because it breaks it up into the most compact repeating
phrases.

If you cannot tell, I took a music theory class recently and part of what
we studied was how to interpret and score music. :) I was one of the
advocates that "row row row your boat" was in 6/8 time... :)

>
> if you want to break it into 5/8 and such, fine. 1/8 is pushing it though :)
>

True. Scoring is an art, just as music is. There's no absolute right way...

~Chris
>
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> ~~ Brian V. Cox ~~~ "The mirror never lies" - Queensryche ~~
> ~ BVC8995@tamsun.tamu.edu ~ "The mirror always lies" - Rush ~
> ~~ ~~~ ~~
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>
>
>
>

------------------------------

Topic No. 4

Date: Wed, 3 Aug 1994 02:24:48 -0500 (CDT)
From: Eric Moegling <emoeglin@bigcat.missouri.edu>
To: ytsejam@anthor.arastar.com
Cc: Multiple recipients of list <ytsejam@anthor.arastar.com>
Subject: Re: boot names
Message-ID: <Pine.3.89.9408030209.A3801-0100000@bigcat>

ALAS...This one makes sense!!! Brian has got it I think! 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. 5

Date: Wed, 3 Aug 1994 11:40:20 +0800
From: kbibb@arastar.com (Ken Bibb)
To: ytsejam
Subject: Re: Wait for Sigs. :)
Message-ID: <9408031840.AA12037@anthor.arastar.com>

Forward from @MORGANE.MORGAN.COM:MHEATH@MORGAN.COM follows.

Ok, first of all, a disclaimer ... this is not all my own work ... the
rhythm figures are according to my transcription book. I'll give the
whole structure at the end of the mail.

> Yes, it could be all in 1/8, but that gives no indication
> as to the structure fo the song, you see?

More importantly, it is wrong because it implies the wrong rhythm. 4 bars
of 1/4 are not the same as 1 bar of 4/4. The beats have different stresses
in 4/4.

> ANyways, the opening part absolutely, is in 5-5-5-4-6-6-6-4 repitions.

This is true, but this is the 'polyrhythmic' rhythm, this is not where the
beats come.

> 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...

so if we include the accompanying octave lower b (call it B) and show the
beat by a '^':

b ab b ab b ab d cb
B B B B B B E
^ ^ ^ ^ ^ ^ ^
However the transcription has the 'd' as a 'b' - which is definitely wrong
and I can barely hear the last b - so I'm not sure about it. I'm pretty
sure about the pulse though, the last two beats are faster - try tapping
a foot along with it.

This translates to a rhythm of 1 bar of 12/8 followed by a bar of 7/8.

The whole song then becomes (C = common time = 4/4)

(12/8, 7/8, 12/8, 10/8) x3
12/8, 7/8, 12/8, C
C x7 12/8, 7/8, 12/8, 10/8
12/8 x8
C x7 12/8 x17
12/8, 7/8, 12/8, 10/8
12/8, 7/8, 12/8, 12/8 last chord (Esus4)

n.b 12/8 is very similar to 4/4 - each beat has 3 notes though. It can be
notated in 4/4 if each beat has 3 notes tied in a triplet.

I hope this makes sense.

Martin.

------------------------------

Topic No. 6

Date: Wed, 3 Aug 1994 11:49:28 +0800
From: kbibb@arastar.com (Ken Bibb)
To: ytsejam
Subject: SHOCKWAVE 'ZINE
Message-ID: <9408031849.AA12113@anthor.arastar.com>

Forward from GALACTIC!ALFREDO.CAPPELLO@GALACTICA.GALACTICA.IT follows.

* Q-Blue 1.0 *

------------------------------

Topic No. 7

Date: Wed, 03 Aug 94 21:21:31 EDT
From: MikeP81576@aol.com
To: ytsejam@anthor.arastar.com
Subject: Petrucci at clinic
Message-ID: <9408032121.tn590370@aol.com>

In what will be one of many posts in response to Mr. Studnicki's visit to the
guitar show, (and I'll just bet that someone reposts his entire lengthy
message - any takers?) let me just say that I'm not all that suprised that
Petrucci is not all that great at improv jams. 98 percent of rock players
aren't. And if you think that Bombay Vindaloo is totally off the top of the
band's heads, guess again.

Generally, improvising is a skill that takes YEARS to master - chances are if
you don't do it that often, you won't do it all that well once you do. But
I'm not sure that the ability to play spontaneously is the ultimate measure
of a musician anyway. Most improv jazz players are GREAT musicians, but I
could give a shit less about listening to them.

Isn't a musicans' recorded performance what you really keep with you?
There's no denying that I&W is a great guitar recording and that Petrucci
plays extremely well live with DT.

Isn't that enough?

Mike

------------------------------

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