I'm sitting here drinking a Dunkin Donuts Medium Vanilla Coolatta (courtesy of my roommate, Kevin. I'm not paying you back, jackass). I'm in the library. It's almost midnight on a Sunday.
Finals week is approaching, and with it always comes some kind of reflection period. I always think about what I've done over the last months and what I could've done differently or better.
Because of what's happened over the course of this semester specifically regarding my personal life, I feel like I've grown up a lot. And because of that, I feel like I've spent alot of time growing up instead of getting into the academics of college. I suppose if I'm gonna do anything besides the schoolwork I'm assigned, it should be maturing and growing up.
In specific regards to MUH 254-Electroacoustic Music, I can easily say I didn't do everything I set out to do. I hope I did everything I was supposed to do, but I know I wanted to do a lot more and simply didn't get around to it for one reason or another.
I intended to use the studio multiple times every week in order to record an EP of cover songs (and one or two originals) to give to my family at Christmas. The fact is that I didn't get a chance to play enough guitar and sing enough. Nor did I get enough experience in the studio, though I did get more in this semester than I have in my whole life combined.
My final piece (performance) for this class was supposed to include 4 or 5 original pieces played on guitar with an accomplice. Didn't happen. Accomplice backed out, didn't get enough practice, and the plan fell through. What DID happen was something three years in the making. My very good friend Pat and I performed a dual drum solo/battle for about 15 or so minutes. It wasn't very well planned, although I think even with planning there wasn't much more we could do.
That part of it went off without a hitch, actually. I just feel like there was so much more that I actually did that noone knows about. I spent probably 25 hours in the studio working on material and I only got two songs recorded and they aren't even what I hear in my head because I"m not the guitar player I need to be. ha! I'm just concerned about it looking like I took the easy way out by only doing the drum thing. I imagine that's what it looked like. The drum piece didn't really connect to any of the readings or require me to do anything outside of class. Yea, now that I'm thinking about it, it looks like I just showed up and did something I've done hundreds of times before. It was no big deal and not that much effort. I wish I could've shown the work I've put in on the guitar, the songs I created with my accomplice, or done something in the studio worthy of being played (in a kiosk?) in front of a crowd.
As far as the actual schoolwork goes, I feel like I did what I was supposed to. The readings were challenging and definitely opened up my mind to a whole new world I've been living in my whole life but never thought about. As far as exposing the students to new ideas, you definitely did that, Steve. You challenged us to look at sound and noise and connect them and separate them and go over new genres of music and everything else you wanted to do (as well as entertain an anti-morning student body). My couple reports went well. I feel like I was thorough in reading the material (more than usual) and wrote up reports that allowed the class an easier time when they read the chapter afterward. Other than that, I feel like I contributed to class discussions and raised some good (some not-so-good, too) questions. I just wish I had had more time to do what I wanted to do in the studio as far as recording cover songs and play with them and then even more work for a final project. Like I said, though, I was too busy growing up. Life took over this semester and kicked my ass. I think I needed it. I wish I had a chance to do this class over with more purpose and more time to do the things I really wanted to do. (Note: Steve, that doesn't mean I'm asking for a failing grade.)
Sunday, December 14, 2008
Monday, December 1, 2008
Recording
Throughout the course of my short music career, I've only been recorded formally three times...maybe. And I must say...recording sucks.
I"m not a fan of it. I may never ever become a studio drummer. I'm way too obsessed with perfection when it comes to recording, but I could care less when it comes to a live performance. I was recorded for Gristlestick's last album, Bearly Legal (http://www.myspace.com/gristlestick) and twice while on the road...once at the Zebra Cocktail Lounge in Bozeman, Montana and again in Talkeetna at the Talkeetna Bluegrass Festival (usually referred to as the Talkeetna Blues, Rock, and Grass Festival). Looking back on the shows, they were fun and I enjoyed myself...but it's obvious in the Zebra recording that I was focusing too hard. Plus I'm much more mature as a drummer after tour. I understand much more about what goes into a live show as far as dynamics in a song and accuracy in tempo. I'm anxious to get into an actual studio, although I'm not sure when that will be.
I WAS in the studio trying to record the damn originals that I created on guitar...and this only further pushed me to hating the studio. Hopefully some producer someday can make me enjoy being in the studio, but as far as I'm concerned now, recording is tedious and painful and takes away from the musical experience. I'd just assume play a live show.
I had to record one particular part for one song almost 60 friggin times and I'm still not satisfied with it. Of course that's me playing guitar, and I"m not completely comfortable with it yet, either...but it's STILL A HARD PROCESS!! I've also realized that once a sound gets recorded and comes back to you, it almost never sounds the same as when it was originally played on the instrument. Garageband, Protools, and the like all have great features that I'd love to learn how to use someday, but they greatly confuse me now and take away from the fun that I'm supposed to be having playing music. Somebody save me and show the light on having a productive, positive experience in the studio, please!
I"m not a fan of it. I may never ever become a studio drummer. I'm way too obsessed with perfection when it comes to recording, but I could care less when it comes to a live performance. I was recorded for Gristlestick's last album, Bearly Legal (http://www.myspace.com/gristlestick) and twice while on the road...once at the Zebra Cocktail Lounge in Bozeman, Montana and again in Talkeetna at the Talkeetna Bluegrass Festival (usually referred to as the Talkeetna Blues, Rock, and Grass Festival). Looking back on the shows, they were fun and I enjoyed myself...but it's obvious in the Zebra recording that I was focusing too hard. Plus I'm much more mature as a drummer after tour. I understand much more about what goes into a live show as far as dynamics in a song and accuracy in tempo. I'm anxious to get into an actual studio, although I'm not sure when that will be.
I WAS in the studio trying to record the damn originals that I created on guitar...and this only further pushed me to hating the studio. Hopefully some producer someday can make me enjoy being in the studio, but as far as I'm concerned now, recording is tedious and painful and takes away from the musical experience. I'd just assume play a live show.
I had to record one particular part for one song almost 60 friggin times and I'm still not satisfied with it. Of course that's me playing guitar, and I"m not completely comfortable with it yet, either...but it's STILL A HARD PROCESS!! I've also realized that once a sound gets recorded and comes back to you, it almost never sounds the same as when it was originally played on the instrument. Garageband, Protools, and the like all have great features that I'd love to learn how to use someday, but they greatly confuse me now and take away from the fun that I'm supposed to be having playing music. Somebody save me and show the light on having a productive, positive experience in the studio, please!
Anxiety
In 9 days, I have to perform 5 or 6 original pieces in front of an audience of up to 150 people. Performing in front of 150 people isn't necessarily the problem so much as performing original works...ON THE GUITAR...is. Four of the songs I'm going to play are on guitar...and I'm not sure how well they're going to be received.
My personality is that of a drummer. The only reason I own a guitar is because my uncle is a huge blues fan and I was born into a family of rock 'n roll/blues lovers who adore guitar players.
My original works on guitar don't even come close to matching my personality behind the drumset. They're much more relaxed, and with the exception of one, were created sitting by myself next to a fireplace or in some other place of solitude.
I'm nervous and anxious about sharing so much of my personal self with such an audience. Let's throw into play the fact that I have had very minimal training in music theory. My songs, for all I know, should be titled "Example of Incompetance Number 1" and "Illegal Key Changes Vol. 3". However, I find comfort in the fact that they're my own, they sound good to me, and I enjoy playing them. It's a performance of original work. I don't really care...I don't think it'll be necessarily bad, especially since I have a competent guitar player playing with me for most of the show, but even if it is, who gives a shit?! It's only gonna hurt your ears for a few minutes...and I only have to do it once. When all the guitar playing's over, I'm going to drum. I hope this goes well, too, even though I"m obviously much less nervous about drumming.
My pieces may put the audience to sleep (until an illegal key change??) , but I have written one rockin' guitar piece that I hope turns some heads and is a success as my first attempt at a rock original on guitar. We'll see how the whole thing plays out...It'll be interesting if nothing else...
My personality is that of a drummer. The only reason I own a guitar is because my uncle is a huge blues fan and I was born into a family of rock 'n roll/blues lovers who adore guitar players.
My original works on guitar don't even come close to matching my personality behind the drumset. They're much more relaxed, and with the exception of one, were created sitting by myself next to a fireplace or in some other place of solitude.
I'm nervous and anxious about sharing so much of my personal self with such an audience. Let's throw into play the fact that I have had very minimal training in music theory. My songs, for all I know, should be titled "Example of Incompetance Number 1" and "Illegal Key Changes Vol. 3". However, I find comfort in the fact that they're my own, they sound good to me, and I enjoy playing them. It's a performance of original work. I don't really care...I don't think it'll be necessarily bad, especially since I have a competent guitar player playing with me for most of the show, but even if it is, who gives a shit?! It's only gonna hurt your ears for a few minutes...and I only have to do it once. When all the guitar playing's over, I'm going to drum. I hope this goes well, too, even though I"m obviously much less nervous about drumming.
My pieces may put the audience to sleep (until an illegal key change??) , but I have written one rockin' guitar piece that I hope turns some heads and is a success as my first attempt at a rock original on guitar. We'll see how the whole thing plays out...It'll be interesting if nothing else...
My Influences
I'd like to touch briefly on my influences as a drummer. Being in the business now, getting to know tons of local musicians and playing shows all over, I have been lucky enough to be explosed to some of the best drummers in the business, I think. A side note: I'm not necessarily a fan of speed metal, but I will be the first to say their drummers are automatically some of the best in the world simply for what they do. I can't name one of them after Mike Portnoy (if he even counts as a speed metal drummer), or Lars Ulrich (he can't count (figuratively and literally)), but I can appreciate their work as much as anybody.
Regardless, there's an endless amount of drummers I'd love to mention...I don't so much know all their names as I do know their bands, so I'll only say those even if I do know their names:
Boston, Blood Sweat and Tears, Kansas, Grand Funk Railroad, Green Day, Allman Bros., Black Crowes, Miles Davis, John Coltrane, Jimi Hendrix, Led Zeppelin, Los Lonely Boys, the Police, Primus, Double Trouble (Stevie Ray Vaughn), Rush, etc...etc...etc....There's dozens of bands I can mention here. The number of drummers that have changed and molded rock and roll especially in the last fifty years is unbelievable.
They've all made their mark and done great things, but my four favorite drummers are Carter Beauford (Dave Matthews Band), Buddy Rich (famous big band drummer, band leader), Chad Smith (Red Hot Chili Peppers), and Jose Pasilla (Incubus). I definitely draw influence from John Bonham (Led Zeppelin) and Mitch Mitchell (Jimi Hendrix), but my favorite drummers to listen to are the four before.
Buddy Rich brought a style to drumming all his own, and was much older than I anticipated he was. He's mastered swing, funk, groove, and soloing. He was once considered the best drummer in the world. He started at age 3 and played his first professional gig at age 9, and was leading a band by age 11. Crazy. This was all in the 30's and 40's when big bands were popular. He continued his career through the 70's and up until his death in the late 80's. Enjoy these links to get an idea of some of Buddy Rich's work:
http://www.youtube.com/watch?v=WgeX9iYOFSQ
http://www.youtube.com/watch?v=wgaD54YcXpA&feature=related
http://www.youtube.com/watch?v=Zg26mLjoUHs&feature=related
Carter Beauford's drumming career began by accident. His dad, a local jazz musician, had tickets to go see Buddy Rich but was unable to find a babysitter, so brought his son along. Carter was mesmerized by Rich. His dad bought him a set and the rest is history. Although he's directly influenced by Rich, Beauford's style is all his own. He's a pioneer is open-handed drumming, where the hi-hat part is played with the left hand instead of the right, leaving the right hand to play the snare drum (on a traditionally right-handed drumset). Carter takes it a step further to have his ride cymbal (normallly on the right) on the left side of his kit. This allows him more options with both toms and cymbals on the right side of his kit. Carter's long career in jazz, reggae, funk, groove, swing, and rock has propelled him to be one of the best-known drummers in the world. Enjoy...
http://www.youtube.com/watch?v=KOatIrazULw
http://www.youtube.com/watch?v=dHV1PGSpRxE&feature=related
http://www.youtube.com/watch?v=bSwlCtsxt9Y
http://www.youtube.com/watch?v=Cs6ww0VLDS4&feature=related
Chad Smith is the platinum recording-worthy drummer of the Red Hot Chili Peppers. He is known for his effortless blending of funk and rock. His creative energy is focused equally in the funk/groove direction as well as the rock direction. It blends perfectly with the rest of the band, but he has also done recording with other superstar musicians such as Van Halen members and guitarist Joe Satriani in his supergroup "Chickenfoot". He is more of a rock drummer, but a jazz influence can still be noted throughout his playing and can be linked back to Buddy Rich. A side note: I set up my drumset pretty similar to Chad's setup.
Check these out:
http://www.youtube.com/watch?v=h9Nr6kJMvUk&feature=related
http://www.youtube.com/watch?v=YPCYVoZcKfY&feature=related
My last victim, Jose Pasilla of Incubus, continues to impress me with his work and his attention to detail. He's very good at changing time signatures and temps and displays a style all his own, too. Incubus is a rock band with a much more experimental side than any other of the previously mentioned bands. The style follows, too, combining rock, jam, reggae, and funk/groove.
http://www.youtube.com/watch?v=_cwfnCyWb-M&feature=related
http://www.youtube.com/watch?v=kJxWVvovGAo&NR=1
http://www.youtube.com/watch?v=L0z446jFozg&feature=related
There it is...4 of my favorite drummers. Hope you enjoyed the videos.
http://www.youtube.com/watch?v=plKmwERfO1M
Regardless, there's an endless amount of drummers I'd love to mention...I don't so much know all their names as I do know their bands, so I'll only say those even if I do know their names:
Boston, Blood Sweat and Tears, Kansas, Grand Funk Railroad, Green Day, Allman Bros., Black Crowes, Miles Davis, John Coltrane, Jimi Hendrix, Led Zeppelin, Los Lonely Boys, the Police, Primus, Double Trouble (Stevie Ray Vaughn), Rush, etc...etc...etc....There's dozens of bands I can mention here. The number of drummers that have changed and molded rock and roll especially in the last fifty years is unbelievable.
They've all made their mark and done great things, but my four favorite drummers are Carter Beauford (Dave Matthews Band), Buddy Rich (famous big band drummer, band leader), Chad Smith (Red Hot Chili Peppers), and Jose Pasilla (Incubus). I definitely draw influence from John Bonham (Led Zeppelin) and Mitch Mitchell (Jimi Hendrix), but my favorite drummers to listen to are the four before.
Buddy Rich brought a style to drumming all his own, and was much older than I anticipated he was. He's mastered swing, funk, groove, and soloing. He was once considered the best drummer in the world. He started at age 3 and played his first professional gig at age 9, and was leading a band by age 11. Crazy. This was all in the 30's and 40's when big bands were popular. He continued his career through the 70's and up until his death in the late 80's. Enjoy these links to get an idea of some of Buddy Rich's work:
http://www.youtube.com/watch?v=WgeX9iYOFSQ
http://www.youtube.com/watch?v=wgaD54YcXpA&feature=related
http://www.youtube.com/watch?v=Zg26mLjoUHs&feature=related
Carter Beauford's drumming career began by accident. His dad, a local jazz musician, had tickets to go see Buddy Rich but was unable to find a babysitter, so brought his son along. Carter was mesmerized by Rich. His dad bought him a set and the rest is history. Although he's directly influenced by Rich, Beauford's style is all his own. He's a pioneer is open-handed drumming, where the hi-hat part is played with the left hand instead of the right, leaving the right hand to play the snare drum (on a traditionally right-handed drumset). Carter takes it a step further to have his ride cymbal (normallly on the right) on the left side of his kit. This allows him more options with both toms and cymbals on the right side of his kit. Carter's long career in jazz, reggae, funk, groove, swing, and rock has propelled him to be one of the best-known drummers in the world. Enjoy...
http://www.youtube.com/watch?v=KOatIrazULw
http://www.youtube.com/watch?v=dHV1PGSpRxE&feature=related
http://www.youtube.com/watch?v=bSwlCtsxt9Y
http://www.youtube.com/watch?v=Cs6ww0VLDS4&feature=related
Chad Smith is the platinum recording-worthy drummer of the Red Hot Chili Peppers. He is known for his effortless blending of funk and rock. His creative energy is focused equally in the funk/groove direction as well as the rock direction. It blends perfectly with the rest of the band, but he has also done recording with other superstar musicians such as Van Halen members and guitarist Joe Satriani in his supergroup "Chickenfoot". He is more of a rock drummer, but a jazz influence can still be noted throughout his playing and can be linked back to Buddy Rich. A side note: I set up my drumset pretty similar to Chad's setup.
Check these out:
http://www.youtube.com/watch?v=h9Nr6kJMvUk&feature=related
http://www.youtube.com/watch?v=YPCYVoZcKfY&feature=related
My last victim, Jose Pasilla of Incubus, continues to impress me with his work and his attention to detail. He's very good at changing time signatures and temps and displays a style all his own, too. Incubus is a rock band with a much more experimental side than any other of the previously mentioned bands. The style follows, too, combining rock, jam, reggae, and funk/groove.
http://www.youtube.com/watch?v=_cwfnCyWb-M&feature=related
http://www.youtube.com/watch?v=kJxWVvovGAo&NR=1
http://www.youtube.com/watch?v=L0z446jFozg&feature=related
There it is...4 of my favorite drummers. Hope you enjoyed the videos.
http://www.youtube.com/watch?v=plKmwERfO1M
Two Step - In Depth
Below is my analysis of my favorite Dave Matthews Band work of all time. It's a song called "Two Step", played live in this case, at Central Park in New York City in September of 2002. The piece runs for just under 20 minutes, clearly having a distinctive A, B, C, and D parts.
Keep in mind that this masterpiece is played in front of 9 acres of people. I'm writing this blog as an extension to one of my previous blogs to dig a little deeper into describing the versatility of the band.
The piece beigns with violin player Boyd Tinsley strumming his violin like a guitar at about 100 bpm. This continues for just under a minute before bass player Stefan Lessard accompanies him for a lengthy bass solo. Lead singer Dave Matthews comes in with guitar and voice just before we're two minutes into the song. That's a pretty lengthy intro (and feels like forever when you're playing a solo on a stage in front of a crowd). The drums, saxophone, and piano all come in at about 2:20 for the entire band's pre-determined syncopated hit sequence bringing us to the intro and first verse. The pace moves along rapidly in a country/rock aggressive beat that drives the song forward. The beat sounds like a train chugging along at full speed. The chorus is played at half the speed of the verse, led by Carter and goes through twice before the band does an instrumental break where Boyd plays a striking violing chord staccato every third beat. A drum fill rolls around the drumset and the song is back to the chugging of the verse and eventually a repeat of the chorus, only lengthier this time, 6:40 in and the band makes a striking, sudden transition to a new section of the song.
Butch Taylor, keyboardist, leads us into a smooth piano solo backed by a sparse, wavy bass line and scarce drums that perfectly match Butch's every move. Dave is lightly finding notes to play on the guitar while Boyd and LeRoi Moore remain out of the spotlight for the time being. Butch's solo continues with guitar, bass, and drums backing him for almost five long minutes, coming to a climax at 12:21. At 12:38, we enter a dreamy bass line and repeating chord progression from the keys while Carter backs with a quiet beat. At 13:31, Carter officially breaks into his solo, starting quietly and carefully going around his drumset, exploring the sounds each tom and cymbal can make. His solo is clearly playing off the repeating bass line and chord progression coming from the keys. It couldn't work out more perfectly. Carter is a master behind the drums, ambidexterous, and comfortable on and off the beat. What's most remarkable about the first part of this drum solo is his use of his cymbals. Boyd comes back in strumming his violin along with the now fast tempo of the song. The most exciting part of Carter's lengthy drum solo is one of his signature moves (15:37) where he rolls on the snare drum with both hands, but after each beat with each hand, hits (alternately) his china boy cymbal on his right and his ride cymbal on his left. This combination continues, gets off the beat on purpose (the beat is held by the band while he goes), and arrives back on the beat at the sequence's completion at 16:01, 24 seconds later. (That's forever in musician time when you're trying to do something that hard.) When the song and beat collide again here, the piece goes back to the rapid train chugging of the verse through a calculated number of sequences until it reaches the entire song's climax at 17:30 where a rapid, syncopated snare beat pulls the entire rest of the band (bass, guitar, keys, sax, and violing) through and then leaves the band behind, speeding the song faster and faster and faster, yet in control, until the song comes to a sudden close that leaves both musician and listener fulfilled and breathing a sign of relief.
The rollercoaster ride of this song is one display of great control of tempo, time signature, and dynamics. It is also a very satisfying display of improvisation and musicianship by every member of the band.
enjoy:
http://www.youtube.com/watch?v=Hhc-iM73Yds
http://www.youtube.com/watch?v=J86-qwxJDjM
(note: the times in the blog and on the videos might not match up exactly)
Keep in mind that this masterpiece is played in front of 9 acres of people. I'm writing this blog as an extension to one of my previous blogs to dig a little deeper into describing the versatility of the band.
The piece beigns with violin player Boyd Tinsley strumming his violin like a guitar at about 100 bpm. This continues for just under a minute before bass player Stefan Lessard accompanies him for a lengthy bass solo. Lead singer Dave Matthews comes in with guitar and voice just before we're two minutes into the song. That's a pretty lengthy intro (and feels like forever when you're playing a solo on a stage in front of a crowd). The drums, saxophone, and piano all come in at about 2:20 for the entire band's pre-determined syncopated hit sequence bringing us to the intro and first verse. The pace moves along rapidly in a country/rock aggressive beat that drives the song forward. The beat sounds like a train chugging along at full speed. The chorus is played at half the speed of the verse, led by Carter and goes through twice before the band does an instrumental break where Boyd plays a striking violing chord staccato every third beat. A drum fill rolls around the drumset and the song is back to the chugging of the verse and eventually a repeat of the chorus, only lengthier this time, 6:40 in and the band makes a striking, sudden transition to a new section of the song.
Butch Taylor, keyboardist, leads us into a smooth piano solo backed by a sparse, wavy bass line and scarce drums that perfectly match Butch's every move. Dave is lightly finding notes to play on the guitar while Boyd and LeRoi Moore remain out of the spotlight for the time being. Butch's solo continues with guitar, bass, and drums backing him for almost five long minutes, coming to a climax at 12:21. At 12:38, we enter a dreamy bass line and repeating chord progression from the keys while Carter backs with a quiet beat. At 13:31, Carter officially breaks into his solo, starting quietly and carefully going around his drumset, exploring the sounds each tom and cymbal can make. His solo is clearly playing off the repeating bass line and chord progression coming from the keys. It couldn't work out more perfectly. Carter is a master behind the drums, ambidexterous, and comfortable on and off the beat. What's most remarkable about the first part of this drum solo is his use of his cymbals. Boyd comes back in strumming his violin along with the now fast tempo of the song. The most exciting part of Carter's lengthy drum solo is one of his signature moves (15:37) where he rolls on the snare drum with both hands, but after each beat with each hand, hits (alternately) his china boy cymbal on his right and his ride cymbal on his left. This combination continues, gets off the beat on purpose (the beat is held by the band while he goes), and arrives back on the beat at the sequence's completion at 16:01, 24 seconds later. (That's forever in musician time when you're trying to do something that hard.) When the song and beat collide again here, the piece goes back to the rapid train chugging of the verse through a calculated number of sequences until it reaches the entire song's climax at 17:30 where a rapid, syncopated snare beat pulls the entire rest of the band (bass, guitar, keys, sax, and violing) through and then leaves the band behind, speeding the song faster and faster and faster, yet in control, until the song comes to a sudden close that leaves both musician and listener fulfilled and breathing a sign of relief.
The rollercoaster ride of this song is one display of great control of tempo, time signature, and dynamics. It is also a very satisfying display of improvisation and musicianship by every member of the band.
enjoy:
http://www.youtube.com/watch?v=Hhc-iM73Yds
http://www.youtube.com/watch?v=J86-qwxJDjM
(note: the times in the blog and on the videos might not match up exactly)
Monday, November 10, 2008
two weeks of madness
hellooooooooooo it's almost midnight. here's my playlist that i've been sticking to lately:
OAR- Hey Girl, That Was A Crazy Game of Poker
John Mayer- Say, Free Falling, Stop This Train
Rob Thomas- Streetcorner Symphony
Verve- Bittersweet Symphony
My Chemical Romance- Welcome to the Black Parade
Dave Matthews Band- Don't Drink the Water, Grey Street, Say Goodbye, Bartender
Matt Lewis- Old Enough, Killing Time, Friction, In For A Ride
Jimi Hendrix- Fire, Crosstown Traffic, My Friend
Herbie Hancock- Chameleon, Stitched Up
Bill Withers- Use Me
As you can see, I have what medical professionals call "MADD" or Musical Attention Deficit Disorder. I can listen to John Mayer and Dave play accoustic stuff all day if I want, or I can rock with MCR, Hendrix, and some of Dave's live stuff, but lately it's been wierd. Sometimes I feel like my life is a music video. I'll walk out of my apartment and the wind or rain will hit me in the face and I feel like I'm in a video!
Oh, and check out Matt Lewis. When I was in Alaska, his name was the buzz. He's from Utah and goes up to Alaska every summer because he loves it. He's such a talented singer/songwriter that I'd be suprised if he didn't hit it big in the next couple years. He's already put out three albums. His reviews say he can freestyle better than Eminem, but he has dorm-room sounds on songs like "In for a Ride" and "This River", too. He's a mix of Eminem, Jason Mraz (also good with words), with maybe a touch of John Mayer or even Incubus??
As far as my project goes, I've given up trying to map out exactly where my piece will go. Lately, when I sit down to create music, it's all over the place and I never hear the same thing in my head twice. I'll probably end up recording something and have to listen to it 10 times to remember what the hell I just played. Basically I'm going to sit down and play all the instruments I can in whatever order my MADD takes me.
Whatever I do, I want to do it before Thanksgiving break, because after that, we're presenting and I'm starting my internship and I will be doubly busy on top of my already ridiculous schedule. This should be fun...
OAR- Hey Girl, That Was A Crazy Game of Poker
John Mayer- Say, Free Falling, Stop This Train
Rob Thomas- Streetcorner Symphony
Verve- Bittersweet Symphony
My Chemical Romance- Welcome to the Black Parade
Dave Matthews Band- Don't Drink the Water, Grey Street, Say Goodbye, Bartender
Matt Lewis- Old Enough, Killing Time, Friction, In For A Ride
Jimi Hendrix- Fire, Crosstown Traffic, My Friend
Herbie Hancock- Chameleon, Stitched Up
Bill Withers- Use Me
As you can see, I have what medical professionals call "MADD" or Musical Attention Deficit Disorder. I can listen to John Mayer and Dave play accoustic stuff all day if I want, or I can rock with MCR, Hendrix, and some of Dave's live stuff, but lately it's been wierd. Sometimes I feel like my life is a music video. I'll walk out of my apartment and the wind or rain will hit me in the face and I feel like I'm in a video!
Oh, and check out Matt Lewis. When I was in Alaska, his name was the buzz. He's from Utah and goes up to Alaska every summer because he loves it. He's such a talented singer/songwriter that I'd be suprised if he didn't hit it big in the next couple years. He's already put out three albums. His reviews say he can freestyle better than Eminem, but he has dorm-room sounds on songs like "In for a Ride" and "This River", too. He's a mix of Eminem, Jason Mraz (also good with words), with maybe a touch of John Mayer or even Incubus??
As far as my project goes, I've given up trying to map out exactly where my piece will go. Lately, when I sit down to create music, it's all over the place and I never hear the same thing in my head twice. I'll probably end up recording something and have to listen to it 10 times to remember what the hell I just played. Basically I'm going to sit down and play all the instruments I can in whatever order my MADD takes me.
Whatever I do, I want to do it before Thanksgiving break, because after that, we're presenting and I'm starting my internship and I will be doubly busy on top of my already ridiculous schedule. This should be fun...
Monday, November 3, 2008
go time
tomorrow, tuesday, i will bring my notes and ideas into the studio to begin work on my final piece. the first part will begin with a digital piano in the strings setting. the piece will be in 16/8 time to begin with. layered piano parts will intertwine a couple solos and come to a point i will record later when drums and bass come in for a pretty suprising entrance.
where this goes from there is a very vague guess, though. i might get inspired to do a percussive piece or jump immediately into the guitar part i came up with last week. honestly, i don't know. i get the feeling i'm gonna get in the studio and even my best and most carefully laid out plans will go straight out the window and give way to a spontaneous idea i have about my piece going in a new direction.
i really lack sense of a direction as a thinker, a writer, and a doer, honestly. why would making an extended track be any different? i want the piece to be more about what i feel than any specific message i'm trying to convey.
i just realized i can make use of 7 years of trumpet experience, as well. i was going to quit band when i was in 6th grade because my teachers pushed me too much to be a drummer (ironic, right??) so i told her i would quit band unless she let me play trumpet. i'm a ham, a spotlight grabber, a center of attention, and i like it, so i wanted to play an instrument that got solos. so i played trumpet until i graduated high school and left it on stage at my graduation, never to see it again. (i did that on purpose; the trumpet was a gift from the school anyway.) i have no idea where i'll get a hold of said trumpet, but if i find one, i won't hesitate to use it. enough for now, i'm going to bed with a splitting headache. i didn't get any sleep friday (halloween) saturday (alumni came up for basketball/party) or sunday (mapherd conference at the samoset resort). i shall get some sleep to get rested for the studio tomorrow night.
where this goes from there is a very vague guess, though. i might get inspired to do a percussive piece or jump immediately into the guitar part i came up with last week. honestly, i don't know. i get the feeling i'm gonna get in the studio and even my best and most carefully laid out plans will go straight out the window and give way to a spontaneous idea i have about my piece going in a new direction.
i really lack sense of a direction as a thinker, a writer, and a doer, honestly. why would making an extended track be any different? i want the piece to be more about what i feel than any specific message i'm trying to convey.
i just realized i can make use of 7 years of trumpet experience, as well. i was going to quit band when i was in 6th grade because my teachers pushed me too much to be a drummer (ironic, right??) so i told her i would quit band unless she let me play trumpet. i'm a ham, a spotlight grabber, a center of attention, and i like it, so i wanted to play an instrument that got solos. so i played trumpet until i graduated high school and left it on stage at my graduation, never to see it again. (i did that on purpose; the trumpet was a gift from the school anyway.) i have no idea where i'll get a hold of said trumpet, but if i find one, i won't hesitate to use it. enough for now, i'm going to bed with a splitting headache. i didn't get any sleep friday (halloween) saturday (alumni came up for basketball/party) or sunday (mapherd conference at the samoset resort). i shall get some sleep to get rested for the studio tomorrow night.
Monday, October 20, 2008
let's get it goin
Okay, I'm going to start really planning my final project and work weekly now towards it. I haven't been doing much, honestly, and there's no excuse for it, but I'm going to give you one anyway. I'm stressed! I got a lot going on. My family adds unnecessary stress, and on top of that, I was far more unorganized than I should be as a senior in college.
I have since purchased a daily planner, told my family what I needed to, and have added the needed order, focus, and discipline my life needs. It's how I operate best.
So my piece...I have written (not recorded, though) a piano part, that I will incorporate in it. I envision a very intense, slightly complicated piece because of my understanding of syncopation. I will incorporate the use...well first of all I'm envisioning one big, giant piece for the end, not little little pieces between now and then. I will incorporate the use of my drum skills (obviously, do what you're good at)...but I"ll use my guitar and piano, too. I think the bulk of my non-traditional sounds that I plan on using will come from the different settings on a digital piano. I may take the whole song into a program and add some outside sounds/noises, but that's undecided.
I'm looking at movements, too...lapses between obviously different parts of the song. These will be parts where I"m switching instruments. I've actually written a couple different parts on these various instruments that I hope to be able to reproduce and maybe put on paper. Also, I will recruit the help of my classmates for specific parts and such. The piece won't be just three differents parts with me on drums, piano, and guitar...it'll be several parts with me on those instruments and in no particular order (yet).
The bottom line in all of this is that I need to start and start soon because it's going to take awhile to get it exactly where it needs to be.
I have since purchased a daily planner, told my family what I needed to, and have added the needed order, focus, and discipline my life needs. It's how I operate best.
So my piece...I have written (not recorded, though) a piano part, that I will incorporate in it. I envision a very intense, slightly complicated piece because of my understanding of syncopation. I will incorporate the use...well first of all I'm envisioning one big, giant piece for the end, not little little pieces between now and then. I will incorporate the use of my drum skills (obviously, do what you're good at)...but I"ll use my guitar and piano, too. I think the bulk of my non-traditional sounds that I plan on using will come from the different settings on a digital piano. I may take the whole song into a program and add some outside sounds/noises, but that's undecided.
I'm looking at movements, too...lapses between obviously different parts of the song. These will be parts where I"m switching instruments. I've actually written a couple different parts on these various instruments that I hope to be able to reproduce and maybe put on paper. Also, I will recruit the help of my classmates for specific parts and such. The piece won't be just three differents parts with me on drums, piano, and guitar...it'll be several parts with me on those instruments and in no particular order (yet).
The bottom line in all of this is that I need to start and start soon because it's going to take awhile to get it exactly where it needs to be.
Monday, September 29, 2008
The Dave Matthews Band
Over the course of the last eight years, I have grown to know and love The Dave Matthews Band (from here on known as DMB or 'they'). I confess it was originally their more 'popular' radio songs like 'crush' and ' what would you say' that turned me onto them, but it didn't take very long at all for my eyes to be opened up to an entirely new world of musicianship and creativity, and passion.
My initial draw to DMB was for a very obvious reason, as I am a drummer and the drummer for DMB, a fellow by the name of Carter Beauford, is absolutely brilliant. He is a very decorated drummer, acclaimed as being one of the best jam band drummers in the world, which speaks to his fluent, ever-changing creativity behind a drumset. He is also a pioneer for a technique in drumming known as 'open-handed' sticking.
It doesn't end there, as centerman Dave Matthews, resident of Charlottesville, Virginia has spent many years in south Africa. His gift for songwriting, as well as natural talent of singing and guitar playing put him as one of the most sought-after entertainers in Western music.
The rest of the band deserves credit, as well. Classically trained violin player Boyd Tinsley has a style all his own on an accoustic violin, often playing through effects pedals. Child phenom bass player Stefan Lessard needed a note from his parents to join the band when he was just 16 years old. Last but not least, late saxophone player LeRoi Moore is no slouch on the baritone, alto, and soprano saxophones. Also, the band freely plays with great guest musicians, such as Government Mule's guitarist Warren Haynes, and has for a long time played with keyboardist Butch Taylor.
What I'm getting at is that there's a reason this band tours heavily, all around the nation every year. This is because they continually come up with new, exciting material, pushing the boundaries of having such an odd combination of instruments and musicians thrown into the mix together. They are not afraid of genre exploration, skipping from blues to funk to latin to rock to softer accoustic, and never afraid to show off their individual musicianship. It is guaranteed that each night, every member of the band will get a solo that leaves the crowd wanting more. They are unfraid of time signature, or adding groups of musicians into the mix (i.e. backup vocalists, a brass section, etc...) To check out some of the bands really cool time signature explorations, look at songs like "Drive in, drive out" "Satellite" "Grey Street" and the merged songs "Pantala naga Pampa -> Rapunzel". In my opinion (as well as other people's), the album "Busted Stuff" is DMB's best work, and portrays the band's exploration into musicianship, lyrical creativity, and time signatures. Give them a look. If you need more suggestions for songs to listen to, just let me know.
My initial draw to DMB was for a very obvious reason, as I am a drummer and the drummer for DMB, a fellow by the name of Carter Beauford, is absolutely brilliant. He is a very decorated drummer, acclaimed as being one of the best jam band drummers in the world, which speaks to his fluent, ever-changing creativity behind a drumset. He is also a pioneer for a technique in drumming known as 'open-handed' sticking.
It doesn't end there, as centerman Dave Matthews, resident of Charlottesville, Virginia has spent many years in south Africa. His gift for songwriting, as well as natural talent of singing and guitar playing put him as one of the most sought-after entertainers in Western music.
The rest of the band deserves credit, as well. Classically trained violin player Boyd Tinsley has a style all his own on an accoustic violin, often playing through effects pedals. Child phenom bass player Stefan Lessard needed a note from his parents to join the band when he was just 16 years old. Last but not least, late saxophone player LeRoi Moore is no slouch on the baritone, alto, and soprano saxophones. Also, the band freely plays with great guest musicians, such as Government Mule's guitarist Warren Haynes, and has for a long time played with keyboardist Butch Taylor.
What I'm getting at is that there's a reason this band tours heavily, all around the nation every year. This is because they continually come up with new, exciting material, pushing the boundaries of having such an odd combination of instruments and musicians thrown into the mix together. They are not afraid of genre exploration, skipping from blues to funk to latin to rock to softer accoustic, and never afraid to show off their individual musicianship. It is guaranteed that each night, every member of the band will get a solo that leaves the crowd wanting more. They are unfraid of time signature, or adding groups of musicians into the mix (i.e. backup vocalists, a brass section, etc...) To check out some of the bands really cool time signature explorations, look at songs like "Drive in, drive out" "Satellite" "Grey Street" and the merged songs "Pantala naga Pampa -> Rapunzel". In my opinion (as well as other people's), the album "Busted Stuff" is DMB's best work, and portrays the band's exploration into musicianship, lyrical creativity, and time signatures. Give them a look. If you need more suggestions for songs to listen to, just let me know.
Monday, September 15, 2008
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