YTSEJAM Digest 1391
Today's Topics:
1) Mail Item Format Warning
by "RESPONSE at IBMMAIL 04/01/96 - 09:31:35" <response@ibmmail.com>
2) Hi everyone
by Michael Bahr <durnik@indirect.com>
3) Musician?
by "Richard A. Rivera" <rrivera@moose.uvm.edu>
4) Re: YTSEJAM digest 1388
by acook@tiac.net (acook)
5) Ronnie Scott's broadcast on TV + news + promo cd
by auzzy@tequila.entpe.fr (Stephane Auzilleau)
6) I'm not dead (I just smell a bit)
by nga@software-ag.de (Neil Gallop)
7) NetC@rd
by mikep@eastwest.com
8) E-man
by rbarker@epix.net
9) Re: YTSEJAM digest 1389
by Sean T Gill <stg@csd.uwm.edu>
10) Re: YTSEJAM digest 1390
by Mason Pokladnik <fmp8157@tam2000.tamu.edu>
11) Jennifer Batten
by al587725@campus.cegs.itesm.mx (MARCELO MARTINELLI)
12) tuning forks and other implements of torture.
by Mason Pokladnik <fmp8157@tam2000.tamu.edu>
13) Metropolis Pt.1 Bass Tab
by daus@grove.ufl.EDU
14) YTSEJAM digest 1387
by "Steven Johnson" <svjohnson@amoco.com>
15) musicians
by ernie@mail.pananet.com (Ernesto Schnack)
16) Peter Collins producing?
by curth@execpc.com
17) Musicians and other annoying replies
by "Christopher R. Merlo" <cmerlo@cs.uvm.edu>
----------------------------------------------------------------------
Date: Mon, 01 Apr 1996 03:46:06 EST
From: "RESPONSE at IBMMAIL 04/01/96 - 09:31:35" <response@ibmmail.com>
To: ytsejam@ax.com
Subject: Mail Item Format Warning
Message-ID: <199604010846.AAA24994@mindcrime.ax.com>
The mail item that you sent at 08:29:15 GMT on 01 Apr 1996 has been delivered.
However, it has been necessary to convert this item into a
format that is acceptable to the recipient, FITIPMOL at IBMMAIL.
Information beyond column 79 in the mail item will have been wrapped.
------------------------------
Date: Mon, 1 Apr 1996 03:19:53 -0700 (MST)
From: Michael Bahr <durnik@indirect.com>
To: ytsejam@anthor.arastar.com
Subject: Hi everyone
Message-ID: <199604011019.DAA07880@bud.indirect.com>
How's it going...
There's an error on the web site. Antiquities is most decidedly
not sold out... there are plenty still available. :) E-mail me if you
need the latest update, dated 3/31/96.
Scenes, Antiquities, and WDATU ordering is still going strong.
I'm really happy to see this. It means less people that I will have to
turn away with their hopes for a CD let down, later. I sincerely hope
that nobody on the Jam at this time will miss out. I can't WAIT till you
all get to hear Antiquities. It's got some primo stuff on it. The
soundboard songs from Los Angeles show Myung and Petrucci so tight that
you cannot tell where one's instrument ends and the other's begins.
As far as Precious Things... calm down folks, I have always tried
to be fair about these things in the past, and I can assure you that
anything I do to determine reservations, including printing more, will be
a decision very carefully thought out and there will be plenty of notice.
I promise, I'll make this project good for as many people as I can. Relax
for now as PT isn't due out until August at the earliest.
Take care!! :)
MTFBWY! Mike Bahr, durnik@indirect.com/mikebahr@dreamt.org
------------------------------
Date: Mon, 1 Apr 1996 05:43:45 -0500 (EST)
From: "Richard A. Rivera" <rrivera@moose.uvm.edu>
To: Dream Theater <ytsejam@ax.com>
Subject: Musician?
Message-ID: <Pine.A32.3.91.960401053516.70540B-100000@moose.uvm.edu>
I'll probably get a lot of flamage from the more academic people
on the list, but I don't think that "What is a musician" list was very
accurate. As far as I can tell, all those qualifications are not
necessary conditions, but merely suggestions or descriptions of what the
"perfect" musician SHOULD be. All the things Debbie listed are invaluable
skills, but they are not requirements. Personally, if a person can
express themselves through a musical instrument, he or she is enough of a
musician for me. Now, if we want to talk about what makes someone a
"good" musician or a "bad" one, that's a whole other topic altogether. I
don't mean any disrespect towards Debbie and I'm glad that someone had
the balls (pardon the expression) to post something that they probably
knew would be critisized. You're right, this probably will elevate the
discussion on the jam.
Richie
(fan of "drum talk")
------------------------------
Date: Mon, 1 Apr 1996 06:27:43 -0500
From: acook@tiac.net (acook)
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 1388
Message-ID: <199604011127.GAA20402@zork.tiac.net>
>
>
>Hi jammers,
>
>I can unofficially announce that Mr. Peter Collins (Rush and Queensryche)
>will produce the next DT album!!!! Great!
>I really like his work on Empire (QR), Hold your Fire, Power windows and
>Counterparts (Rush). If Peter Collins can manage to sound Portnoy's snare
>like the snare on Empire I guess no one will complain anymore : )
> (However I really like the snare on I&W, while I'm a drummer).
>
> Wessel Marquering
Yes yes yes! Empire and Power Windows are two of my most favorite sounding
albums. This is totally neeto.
Adam Cook acook@tiac.bet visit me at, http://www.tiac.net/users/com (hard
hat construction area!)
------------------------------
Date: Mon, 1 Apr 96 12:25:14 +0100
From: auzzy@tequila.entpe.fr (Stephane Auzilleau)
To: ytsejam@ax.com
Subject: Ronnie Scott's broadcast on TV + news + promo cd
Message-ID: <199604011137.DAA26695@mindcrime.ax.com>
Hi there,
I have heard that a part of the Ronnie Scott's (about 25mn) was recently
broadcasted by a UK TV (MTV Europe or BBCx). Can a UK Jammer confirm that?
If one of you taped it, I am very interested, as all the jammers I presume...
By the way, here are some news I collected by speaking with John and Mike at
one of their clincs.
- So far, they have finished 6 tracks. Three of them are demoed with the
vocals (including "Where are you now", a song that reminds me a lot of Rush
"Counterparts" period, especially the vocals of James and the guitar parts.
A very direct song, very powerful, and "Raise the knife"), and the three
others are demoed without vocals. These six songs last 50 minutes (not bad!).
- Mike told me that they are on the half way of the making of the album.
- James wrote some lyrics, John too. Mike wrote the ones of "Raise the
knife". And John said that "Metropolis - part II" could be on this album.
- The title will be choosen later.
- Derek was very involved in the writing of the music. He wrote a piano
pieces "that beats easily "Wait for sleep"", according to Mike. But not
involved in the lyrics ("only one step at one time" said Mike).
- The producer is not choosen yet, but Trevor Horn or Peter Collins should
be the choice.
- They will go into the studios at the beginning of June, for three months.
The release of the album is planned for october.
I have seen some compilation promo cds in a store in Lyon. They feature "To
live forever" and "Eve" by DT, among songs of Shadow Gallery, Vanden Plas,
fates Warning, Threshold, etc... They cost about 12 US dollars (--> 15 US
dollars including p&p). If you are interested, e-mail me.
And to last with a non DT content, try "Holy land", the new album of ANGRA.
Iy is really fantastic!!!
Stephane Auzilleau
Your Majesty - French official fanzine on DT.
------------------------------
Date: Mon, 1 Apr 96 15:02:19 +0200
From: nga@software-ag.de (Neil Gallop)
To: ytsejam@ax.com
Cc: nga@server3.software-ag.de
Subject: I'm not dead (I just smell a bit)
Message-ID: <9604011302.AA00267@sundoc13.software-ag.de>
Hi all
well I just got back from my 16 day diving safari in the Maldives (eat your
hearts out with envy) and have just battled my way through 46 jams - not much
work going on today. Some old threads resurfacing, some new stuff, some good
old fashioned squabbling, the occasional bit of info about Dream Theater: just
the way I like it.
So Phil Collins has decided to leave Genesis. Perhaps the survivors will be able
to get back to making good music in the old Genesis tradition. How about Fish as
the new vocalist? The title of the next album will have to be "...and then there
were two".
"What is music, master?" "Music, Grasshopper, is listening to the sounds of
dolphins through the wooden hull of your boat as you lay in your bunk looking
at the stars." While I was away diving, I tried a little experiment: we put the
speakers of the ship's stereo against the hull below the water line while we
were anchored one night. A school of dolphins had been following us all day, but
they never came in really close. The music we choose was "dreaming the romance"
by Anathema, a long slow keyboard piece some 20 minutes long. After about 10
minutes, the first dolphins were showing definite signs of interest, coming much
closer and diving right under the boat, and after 15 minutes the whole group of
about 30 animals was floating just a few meters from our hull, almost close
enough to touch. We played the track again, and they stayed just where they
were, a truely magical experience. Later that night we could clearly hear the
sonar clicks of the dolphins coming through the hull of the boat, and although
it was still very warm (about 30 oC) I got goose pimples. That was real music.
Music tip time: if you can find it, listen to the new album 'Painting on Glass'
by the Norwegian band 'The 3rd And The Mortal'. Doom music (I hesitate to use
the word metal) perfected and taken to it's logical conclusion. A serious
candidate for the best album of 96.
Is a bigamist a large patch of fog in Italy?
stay safe and happy listening
Neil Gallop
(nga@software-ag.de)
Currently playing: Skyclad - The Silent Whales of Lunar Sea
------------------------------
Date: Mon, 1 Apr 1996 04:06:13 +0100
From: mikep@eastwest.com
Subject: NetC@rd
Message-ID: <199604010306.EAA12560@www.woc.nl>
Congratulations!
You have received a personal postcard from Dream Theater!
Check it out now at World Of Cards!
Your email address is: ytsejam@ax.com
Your personal identification code is: 6320
------------------------------
Date: Mon, 1 Apr 96 10:34:26 PST
From: rbarker@epix.net
To: Ytsejam <ytsejam@ax.com>
Subject: E-man
Message-ID: <Chameleon.960401103653.rbarker@.epix.net>
E-man, help me!!!! Remember the John Petrucci instructional
video I ordered? Well, the store called me and told me it
was out of print and they can't get it for me. So will you
kindly mail me the phone number for that Manny's music you
were telling me about? It would be greatly appreciated!!!
Robert Barker(Ibanez)
-------------------------------------
Name: Barker
E-mail: rbarker@epix.net
Date: 4/1/96
Time: 10:34:26 AM
-------------------------------------
------------------------------
Date: Mon, 1 Apr 1996 09:43:19 -0600 (CST)
From: Sean T Gill <stg@csd.uwm.edu>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 1389
Message-ID: <Pine.OSF.3.91.960401091808.16302A-100000@alpha2.csd.uwm.edu>
>
> From: Steve Borzilleri <magellan@u.washington.edu>
>
> Whoahwhoahwhoah, I left out an important part on the end of my sentence
> there. I did mean what you mentioned, something like a strictly acoustic
> player suddenly being handed an Ibanez set up for Satch's playing,
> delicate tremolo and all, strung with something like .009's.
Yeah, I see your point. I play a Strat or a hollowbody jazz guitar for
electrics, neither of which I use a tremolo on. I can't play very well
with an Ibanez. That's why I love my Whammy pedal.
> I wouldn't expect anyone who played only acoustic, where the minimum
> string-gauge is around .012's, to be able to play any electric as usual
> (that means without changing their style), strung with .009's, without
> breaking something...LIKE A STRING. (Maybe Michael Hedges switches to
> .008's when I'm not looking.) I didn't mean that acoustic players can't be
> as fluid as electric players.
> (I have a friend who strings his acoustic with .014's. I have a liking
> problem with that practice. He played my Ironbird once, with .009's strung
> 0J8u\qz-fx\Tb8:8cVon, and promptly snapped the A after about five minutes
> 6with his furiously violent picking and
> bending.)
>
I know quite a few fingerstyle players here who also play electric. I
guess if you're accustomed to both it doesn't matter. I use .010's &
.011's on my electrics, and .011's on my acoustic. Then there's nylon
strings. Very different feel, but I didn't think it was hard to play on.
Maybe by playing a variety of instruments I just don't notice the
differences anymore.
> time. Hence they ask every musician in the room to play something, even
> the strictly electric-guitar players. Strange how no one ever happens to
> have an electric guitar laying around.
Boy, you should see this campus. There's this beginning guitar class
people take for easy credit. There's about 200 "guitar players"
wandering around all playing Mary had a Little Lamb out of tune.
> > Even though they might feel different the skills for playing each is
the same. >
> I can't agree. In fact, I disagree. Using half of your
strength is more a skill than using all of your strength. Try playing
your favorite licks at half speed, or just try slowing them down. Slow
arpeggios aren't all that easy to do smoothly if all you've ever done is
lightning-fast arpeggios. > > >
That's all part of practice. Being a guitar major I do things
methodically and thoroughly. Being able to the same things both fast and
slow is important. It shows that you really know what you're doing. I
always try to play everything without distortion, that way I know that I
know it. If I'm making mistakes, they're easier to hear. Not that I'm
saying distortion covers up your mistakes, just that I think if play
something precisely without distortion, it will help in the long run.
Just being able to play something and really knowing it are vastly
different. Read Deb Seeger's post and you'll see what I mean.
TTFN- Sean
------------------------------
Date: Mon, 1 Apr 1996 09:53:43 -0600 (CST)
From: Mason Pokladnik <fmp8157@tam2000.tamu.edu>
To: ytsejam@ax.com
Subject: Re: YTSEJAM digest 1390
Message-ID: <Pine.SOL.3.91.960401094633.16185A-100000@tam2000.tamu.edu>
well to Deborah S. I have one comment to make about being a musician. I
happen to play sax, guitar, bass, tuba, a little drums and keyboard and I
can read music very well thank you, and though I realize that knowing the
various names of muscial styles may be neccessary for jeopardy for the
real world it is not. the only thing more valuable to a musician then
his/her technique is thier experience, NOT their knowledge. I could sit
down and right a paper all about the blues but If I had never heard them
before I wouldn't be able to do squat. knowledge is money on jeopardy,
experience is money in the music world (unless your on MTV then you can
do whatever the F**^ you want cause the mindless zombies will follow you
anywhere.)
------------------------------------
-Mason Pokladnik -
-fmp8157@tam2000.tamu.edu -
-http://http.tamu.edu:8000/~fmp8157-
------------------------------------
------------------------------
Date: Mon, 1 Apr 1996 09:55:09 -0500
From: al587725@campus.cegs.itesm.mx (MARCELO MARTINELLI)
To: ytsejam@ax.com
Subject: Jennifer Batten
Message-ID: <9604011455.AA09192@campus.cegs.itesm.mx>
Hi Jammers ,
I just wanted to tell everyone to check out Jennifer Batten if you
haven't. I went to a clinic she did here in Mexico and let me tell you , she
kicks serious ass! She's got a 3 finger tap and slap thing going on that's
truly phenomenal. She handles a lot of different styles that give it a very
fresh feeling. Anyways I asked her what she thought about John Petrucci and
she told me that she thought he was a terrific guitar player and one of the
hottest players rightn now. I just wanted to let you in on that. See ya later.
Marcelo Martinelli
Monterrey , Mexico
---"It dawned on me one day that I should not be making sandwiches for a
living"---
---John Petrucci---
------------------------------
Date: Mon, 1 Apr 1996 10:05:25 -0600 (CST)
From: Mason Pokladnik <fmp8157@tam2000.tamu.edu>
To: ytsejam@ax.com
Subject: tuning forks and other implements of torture.
Message-ID: <Pine.SOL.3.91.960401100040.22208A@tam2000.tamu.edu>
someone said a few jams back that only amplitude was affected by hitting
a drum head harder when in fact you also do raise the pitch usually by
an unnoticeable ammount because you strech the drum head and make it a
little bit tighter and drummers and everyone else will tell you if you
tighten the head it raises the pitch.
"the day they curved the fork, was a great day in the history of fork making"
- one of matt rosin's friends.
------------------------------------
-Mason Pokladnik -
-fmp8157@tam2000.tamu.edu -
-http://http.tamu.edu:8000/~fmp8157-
------------------------------------
------------------------------
Date: Mon, 1 Apr 1996 11:24:52 -0500 (EST)
From: daus@grove.ufl.EDU
To: ytsejam@ax.com
Subject: Metropolis Pt.1 Bass Tab
Message-ID: <Pine.ULT.3.91.960401112008.16523A-100000@willow>
I posted this message before, and I really need some reply now. I am in
a progressive band and we agreed to cover metropolis pt.1. I have
successfully learned every part so far, but the I need to know the exact
notes for the two handed bass solo part in the song. I remember seeing
it in a magazine a few years ago, but never really paid much attention to
it at the time. ANYONE please let me know if you either: Know it, know
where to get it, know someone who has it, or actually have it.
I really need to get this down, it sounds so good!
Daus Studenberg
daus@grove.ufl.edu
------------------------------
Date: 01 Apr 1996 10:29:10 GMT
From: "Steven Johnson" <svjohnson@amoco.com>
To: ytsejam@ax.com
Subject: YTSEJAM digest 1387
Message-ID: <199604011628.AA22951@interlock.amoco.com>
*** Reply to note of 03/31/96 13:10
If Anthrax are such trend setters, why don't we all have hats that say "Injun"?
Just a thought.
Steve
***************************************************************
"I'll be defending you on the charge of......MURDER ONE!?! Wow!
Even if I lose, I'll be famous!!" - Lionel Hutz, attorney
***************************************************************
------------------------------
Date: Mon, 1 Apr 1996 11:54:46 -0400
From: ernie@mail.pananet.com (Ernesto Schnack)
To: ytsejam@ax.com
Subject: musicians
Message-ID: <19960401165444.AAA2998@mail.pananet.com>
>1. HAVE THE DRIVE. First and foremost, a musician must have to desire to
>make noise out of an instrument, or many instruments. Then he/she must
>learn the technique for the desired instrument(s.)
>
Well yeah, if you don't have the drive, you probably won't get past learning
the opening riff to 'One'...(guitarists will know what I'm talking about)
>2. LEARN THE LANGUAGE. This includes knowing what all the dots, lines,
>and other symbols, as well as the jargon, stand for. I know I'll start to
>piss a whole lot of you off right now. So what. Learn to read them and
>write them on paper (the Encore notation program will do as well!)
>
Well I've known how to read music since I was 10 years old and I took 2
years of Piano lessons... then I discovered guitar and TAB, and didn't read
music anymore, so I lost the ability ( not that I had that much of it to
begin with), and now I got into this school that's like a Panamanian
mini-Berklee... and I have to say that with the little bit that I have
learned so far, I have improved a lot as a musician (mentally speaking)
>7. LEARN MANY INSTRUMENTS (IF POSSIBLE.) Having working knowledge of
>several instruments is an asset to composition as well as adds variety to
>your musical life.
>
guitar,drums,piano
>8. KNOWLEDGE, KNOWLEDGE, KNOWLEDGE! Learn about music. Learn about
>composers/songwriters, history (anyone calling themselves a musician should
>be able to name the major eras of Western Art Music,) copyright and
>licensing information, etc.
>
Renaissance, Baroque, Classical, Romanticism, 20th Century
Do I pass the test Ms. Seeger? :) No really, I have to say that I don't
agree that these things make you a musician... I think it makes the
difference between a bad musician and a good musician...to me, the main
things which make a person a musician, are that he/she is technically adept
at his instrument, and is able to express himsels throught it... also I
think the creative part important... I don't understand how there can be
people who play music and never compose any... coincidentially (forgive my
spelling) yesterrday we ( my band) slagged the drummer because we were all
trying to write songs, and all of a sudden we just turned around and said
"How come you don't ever write anything? At Least Neil Peart writes the
lyrics!"
Anyways...well, being a musician ( can I use that term for myself yet?:)
that wasn't very educated and starting to be, I have to say that my playing
style and composition technique hasn't changed much... I just feel more
confident in what I do... besides...du=id you know that Yanni didn't study
music? (Yes I like Yanni...STOP LAUGHING!! ALL OF YOU!!) yep, he doesn't
even know how to read it...would classify him as a musician? just curious...
|---------------------------------------------------------------------------|
|in the distance, you faintly hear... |
| HEY!! HEEEEEEYYYY!!! LISTEN TO MEEEEEEEEEEEEEEEE!!!!!!!!!!!!!!! |
| ...and then the song starts. |
|===========================================================================|
|Bert's out by the pool shooting pigeons {Ernie} {ernie@.pananet.com}
|===========================================================================|
------------------------------
Date: Mon, 1 Apr 1996 11:19:17 -0600 (CST)
From: curth@execpc.com
To: ytsejam@ax.com
Subject: Peter Collins producing?
Message-ID: <199604011719.LAA16829@earth.execpc.com>
Hi all,
Someone a couple jams back posted about Peter Collins producing DT's next one.
My first reaction was "YES!!!" But then I recall hearing something about
Queensryche having him do their next album as well, which I would imagine will
be recorded at about the same time as DT's. Can anyone verify this/contradict
this or in some way clear it up?
I definitely love what Peter did for Rush and QR, and I think he would take DT
to another level (just make sure those keys are up in the mix!!), so I'd love
to see this happen; all I'm wondering about is if he'll be tied up with QR (or
someone else for that matter) when DT goes into the studio.
Scott Hansen
curth@execpc.com
------------------------------
Date: Mon, 1 Apr 1996 13:07:16 -0500 (EST)
From: "Christopher R. Merlo" <cmerlo@cs.uvm.edu>
To: Ytse Jam <ytsejam@ax.com>
Subject: Musicians and other annoying replies
Message-ID: <Pine.3.89.9604011213.F17013-0100000@griffin.emba.uvm.edu>
> From: ernie@mail.pananet.com (Ernesto Schnack)
> Subject: JIGIJIGIJIGIDAN
>
> Gosh I wish I had a bad ear... then I wouldn't notice this stuff...
Can I use that? :)
----> From: SEEGED73@VAXA.CIS.UWOSH.EDU > Subject: What is a musician? > > Requirements for a real musician, by Deborah J. Seeger > > 1. HAVE THE DRIVE. First and foremost, a musician must have to desire to > make noise out of an instrument, or many instruments. Then he/she must > learn the technique for the desired instrument(s.)
Agreed.
> 2. LEARN THE LANGUAGE. This includes knowing what all the dots, lines, > and other symbols, as well as the jargon, stand for. I know I'll start to > piss a whole lot of you off right now. So what. Learn to read them and > write them on paper (the Encore notation program will do as well!)
Well, I for one rely on neither sheets nor tab. I could once sight read. I played trumpet in 4th grade and could read. But I can't now. I really don't think it's holding me back. Then again, my primary style of music (rock) doesn't necessitate this skill.
> 3. KNOW WHAT THE COMBINATIONS OF THE AFOREMENTIONED DOTS, LINES, AND > SYMBOLS MEAN IN CONTEXT. Some say that theory doesn't make music fun > anymore. I beg to differ. A muscican should know what certain sounds are > and why they are used. Analyzing music gives a musician more thorough > understanding of the notes on a page. One should understand in order to > create.
Theory is a great thing to know. It helps us write better tunes. You can tell that JP knows his theory by the fucked up chords he uses. Some will say that it's not necessary to know. But what you don't know limits your creativity. I know more about music than I use. That makes me comfortable.
> 4. HAVE THE EAR. Having a "good ear" means different things to each > person. Obviously if you're tone deaf, music isn't the hobby or career for > you. Know how to interpret notes on a page and don't be afraid to deviate > from them.
I have the ear because I don't rely on the printed page. To paraphrase Edward VH: "If it sounds good, it is good."
> 5. BE FAMILIAR WITH MANY GENRES OF MUSIC. An open mind is essential for a > musician. One limits him/herself by only listening to or playing one style > of music. Take aspects of a number of styles when creating your own.
Agreed wholeheartedly. Being a master of many - or even two - styles is not important. But recognize them. Where they come from, what influenced them, and what influence these styles have had on others.
> 6. TAKE INITIATIVE TO CREATE. Being a musician means much more than > performing. Applying your abilities to compositions can only sharpen your > skills.
Many many people will disagree with you on this one. I'm not one of them. In the classical world, as far as I can tell, "talent" means being able to flawlessly recreate what some dead German guy wrote hundreds of years ago. I think that's bullshit. If a piano player can't just jam in E, he or she ain't worth shit in my book.
> 7. LEARN MANY INSTRUMENTS (IF POSSIBLE.) Having working knowledge of > several instruments is an asset to composition as well as adds variety to > your musical life.
But be a master of one. I'm a bass player who owns an acoustic guitar and can play a couple of tunes on a piano. But my understanding of guitar and piano have helped my bass playing trememdously. Any time I figure out something cool on guitar or piano, I immediately think about a cool bass line for it.
(The sam can be said, by the way, about almost everything else. The reason my English grammar is so good is because I studied Spanish for five years.)
> 8. KNOWLEDGE, KNOWLEDGE, KNOWLEDGE! Learn about music. Learn about > composers/songwriters, history (anyone calling themselves a musician should > be able to name the major eras of Western Art Music,) copyright and > licensing information, etc.
Amen. You can never know too much. My friends are often amazed at my knowledge of rock trivia, and being able to sing along (albeit often not well :) with anything that comes on the radio.
> If you make noise from an instrument but can't apply most or all of these > points to yourself, you are not a musician but merely play a musical > instrument.
Anyone that can make a noise from a musical instrument that remotely resembles a song has my respect. Anyone that has the balls to perform something for others has even more. In my opinion, if you can create something on a musical instrument that you think is beautiful, or that generates an emotional response in you, you're a musician.
> I know I view music from a scholarly standpoint (I have a $16,000 tuition > bill accumulated over the past four years that says I can.) Call me a > college snob if you must, but if I hadn't come to school for music I > wouldn't be a true musician. Some of you may be able to relate to that. > If you can't and you don't like my standards for musicians, so be it. You > have your opnion, I have mine. Now will this spark some more stimulating > conversation than goddamn drum talk?
And I view music from the garage and the basement. I don't think that makes me any less of a musician than you are. I've never taken a theory or performance class. Yet I love music, and have an understanding of it. My performances evoke emotional reactions in myself and in others. Isn't that what it's all about?
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> From: Michael Backof <mbacko1@gl.umbc.edu> > Subject: Anthrax > > Anthrax was always a band to know humor, some of the funniest metal songs > ever written... > > (The Milk Song)
I'll just have Wheat Thins and beer. If I get sick, the toilet is near. It just doesn't get any better than that. :)
BTW, for historical reference: "Milk" was originally an SOD song. Scott and Charlie were in SOD, and Charlie co-wrote it, so I guess it was ok to put it on Killer B's. Also, Chromatic Death (another SOD song) is also on Killer B's. Ahh, Headbanger's Ball...
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> From: "Damon M. Fibraio" <s0067977@hawkmail.monmouth.edu> > Subject: Re: Anagramz & Jam Master Jay > > Bafu, you sick fucking weirdo.
You know, someone really should compile a list of the best YtseQuotes. :)
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> From: Chris Oates <aspect@cats.ucsc.edu> > Subject: Re: YTSEJAM digest 1388 > > Yeah, kinda. Let's not forget that XWindows is the original GUI. As such, > it's a lot less "friendly" to the new user than modern day stuff, but it's > still the #1. Parc Xerox rules! ;)
Bah. If computers were meant to be user-friendly, they would be easy to understand. Long live the C Shell! Remember when only computer people used computers? There was no need for tech support, or mice, or documentation, or Comp USA...
> >According to the circle of firfths, Pepsi doesn't exist. Pepsi is ot a > >progressive band. Please stop writing about them. Thank you. > > Firth of Fifth? Ding! Ding! Oops, (Snarfeenja Di) Gottago, my Supper's Ready > > ------------------------------ > > End of YTSEJAM Digest 1390 > **************************
Damn! Watch your back, Bafu! Mr. Oates, you have learned well, my son. Have you considered the Digital side of the force...
------------------------------------------------------------------------ \|/ ____ \|/ The Digital Man \|/ ____ \|/ "@'/ ,. \`@" cmerlo@cs.uvm.edu "@'/ ,. \`@" /_| \__/ |_\ d-man@dreamt.org /_| \__/ |_\ \__U_/ http://www.emba.uvm.edu/~cmerlo \__U_/
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End of YTSEJAM Digest 1391 **************************
This archive was generated by hypermail 2b30 : Thu Apr 01 2004 - 17:55:21 EST