YTSEJAM Digest 476 Topics covered in this issue include: 1) boot names by "Brian V. Cox" 2) _my_ WFS sigs¬es (/GIF included) :) by Christopher Taylor Oates 3) Re: boot names by Christopher Taylor Oates 4) Re: boot names by Eric Moegling 5) Re: Wait for Sigs. :) by email_address_removed (Ken Bibb) 6) SHOCKWAVE 'ZINE by email_address_removed (Ken Bibb) 7) Petrucci at clinic by email_address_removed ---------------------------------------------------------------------- Topic No. 1 Date: Tue, 2 Aug 1994 23:30:41 -0500 (CDT) From: "Brian V. Cox" To: email_address_removed Subject: boot names Message-ID: > From: Michael Burstin > 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 ~~ ~ email_address_removed ~ "The mirror always lies" - Rush ~ ~~ ~~~ ~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Topic No. 2 Date: Tue, 2 Aug 1994 23:51:11 -0700 (PDT) From: Christopher Taylor Oates To: email_address_removed Subject: _my_ WFS sigs¬es (/GIF included) :) Message-ID: 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 begin 600 wfs.gif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o: email_address_removed Subject: Re: boot names Message-ID: > 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 ~~ > ~ email_address_removed ~ "The mirror always lies" - Rush ~ > ~~ ~~~ ~~ > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > > > ------------------------------ Topic No. 4 Date: Wed, 3 Aug 1994 02:24:48 -0500 (CDT) From: Eric Moegling To: email_address_removed Cc: Multiple recipients of list Subject: Re: boot names Message-ID: 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. email_address_removed ERIC MOEGLING: email_address_removed ----------------------------------------------------------------------------- ------------------------------ Topic No. 5 Date: Wed, 3 Aug 1994 11:40:20 +0800 From: email_address_removed (Ken Bibb) To: ytsejam Subject: Re: Wait for Sigs. :) Message-ID: Forward from @MORGANE.MORGAN.COM:email_address_removed 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: email_address_removed (Ken Bibb) To: ytsejam Subject: SHOCKWAVE 'ZINE Message-ID: Forward from GALACTIC!email_address_removed.IT follows. +--------------------+--------------+--------------------+ | | | S H O C K W A V E | | | | is now having it's first iussue compiled. | | we are looking for new bands to include especially | | Doom and Death metal, but all other styles are welcome | | as your music isn't awful or outdated. | | Send your promo pack now (including: demo, bio, photo, | | flyers) and ... | | | | * We will review it. | | * We will do our best to print your flyer/advice. | | * We will contact you quickly for an interview. | | * All the bands will get a free copy of the 'zine | | | | The best bands will get much more! | | Radio airplay on Italia Radio Network, interview or | | review on italian "big name" magazines and underground | | 'zines. | | We are also in contact with few italian record labels | | and periodically we will suggest them the best demos. | | | | contact: | | ALFREDO CAPPELLO | | via G.B.Vico 1 | | 20123 Milan | | ITALY | | e-mail: alfredo.cappello@galactica.it | | | | or: | | EDOARDO RAZZETTI | | via P. Lomazzo 25 | | 20154 Milan | | ITALY | | phone & fax: +39-2-33600212 | | | | | | | +--------------------------------------------------------+ * Q-Blue 1.0 * ------------------------------ Topic No. 7 Date: Wed, 03 Aug 94 21:21:31 EDT From: email_address_removed To: email_address_removed Subject: Petrucci at clinic Message-ID: 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 ------------------------------ End of YTSEJAM Digest 476 *************************