Pribek

(Note: This post, written by Stratoblogster, originally appeared as a comment to my post, “Guitar Playing Tip”. It is so chock full of fiber that I just had to give it more visibility and attention.)

Great stuff! Somewhat related is how the studio versions of Dangerous Kitchen & Jazz Discharge Party Hats were done. Steve Vai doubled guitar tracks to FZ’s vocal/lyric track from earlier live performances. The result is a written instrumental line which mimics speech, syllables and verbal nuances as well as the melodies Frank was doing.

Verbalization is very musical. The consonants and how they’re formed via the structures in the mouth represent the percussion section. The vowel sounds, as they are manipulated also by the structures in the mouth, represent tone & EQ variations. The vocal chords deal with pitch and certain timbres, but you see how the vowels a,e,i,o, & u aren’t pitch related at all.

Language and verbal expression combines all these areas and functions. It’s quite an orchestration. I’ve always wondered if it’s possible to score a piece of music which would make an orchestra speak or sing actual lyrics. Such things are being done electronically, but I’m talking about an actual orchestra of conventional instruments.

There was an old VH1 program in the 80’s hosted by Ben Sidran in which he interviewed progressive music artists. In a show featuring Miles Davis, Miles referred to a Stravinsky piece in which the listeners attending the performance thought they were hearing a marching band proceeding past the front of the symphony venue as the symphony was playing something else. In other words, some members of the orchestra would gradually phase into the march piece which transitioned across the orchestra sections from left to right. The overall balance was such that the march music would be perceived as moving past the front entrance while the symphony music remained & continued in the hall. This all done acoustically & through the written arrangement dynamics without any electronics, PA mixer, etc.

A redeeming aspect of Rap is in it’s study of the rhythmic syncopations of verbalization combined with language and meaning; communication of ideas in a flow pattern. It’s interesting that the demographic from which Rap originates has the lowest literacy level in our society. I see Rap has a tool to express and attempt to pace with the information age. Imagine growing up with little or no ability to read in this society right now. Spoken word goes into overload and overdrive for such people. It’s survival.

Interesting though, when compared to the classic American songbook and scat where there are both differences and similarities. To get an artistic informational message out there during and shortly after WWII involved great lyrical challenges with metaphor & innuendo to reach & reflect the people, who were otherwise stuck with Edward R. Murrow, newsreels, radio shows and general gov’t & church fed propaganda.

But back to human speech as a form. In some social situations I like to tune out what people are saying, and just listen to the rhythm and expression in how they talk– the ebb and flow, and how emotions work in the mix. The “music” of conversation, minus the lyrics of language, reveals mood, personality, sincerity, intent, truth, creativeness and perhaps infinite other aspects. You wonder why, given the sophistication of voice combined with language, would we still maintain interest in musical instruments which in some ways seem much more crude and inferior. Are instruments intended to extend or focus on certain interesting and aesthetic aspects of the voice?

Another interesting thing is when human verbal conversation crosses over from talking to singing. Where is this line? Many people who have no issues speaking normally to another person are too embarassed to sing. Where is their line between the two? Is it the introduction of melody and rhythmic patterns to speaking? Some people will read or recite poetry fine, but are too shy to sing Happy Birthday. So something about expressing melody is difficult for some to confront. Does singing come from a different place inside of us than just talking? And what about indigenous cultures where they sing routinely about routine life? They don’t have Math!

So the answer is MATH! Math and its resulting technologies have reformatted the software of “civilized” human spirit in such a way that music has been compartmentalized where it previously was not. Singing is de-compartmentalizing the dynamic of life against the effects of math which measures and quantifies structure as senior to function.

Math is evil. Sing it children! Function!!!

Check this out…this is the headline from the lead story at Rolling Stone’s daily music news deal…

Woodstock Box Set Packed With Unreleased Dead, Who Tracks

Hunh!!??

Are you kidding me?

That’s not news. Stuff that didn’t make the cut for a live record that was released almost 40 years ago? “Unreleased tracks” by the Dead and the Who? Did the Who or the Dead knock it so far out of the park at Woodstock that we now need to put the culls under the microscope?

There is no music news.

Earlier this week, our good pal Sans Direction had a post in which he analyzed some goofy article where some guy had five ideas that will save the music “industry” and refuted the nonsense with pinpoint clarity. By the way Dave, I gave much thought to a comment but, I figured I might as well fill some space up here since…

…There is no music news.

Why do you suppose that is Jack?

Well, because the “music industry” hasn’t been “saved”. And, the fact is…nobody could have saved it anyway.

All the music industry has ever been…is a bunch of salesmen.

Remember “WKRP In Cincinnati”? When everybody used to bust on the pathetic guy in the ridiculous suit; the salesman? It was one of those deals where the joke worked but, the truth is; real radio stations don’t exist without salesmen.

The music industry doesn’t exist without salesmen. Nor do the newspaper, television, movie, magazine and, book publishing industries.

The music industry uses data as a commodity. Data is no longer a commodity.

Salesmen can’t sell something that is no longer a commodity.

Journalism is the next to tank. Journalism, news, is data.

Journalism needs to tank same way the music industry needed it. It has been a bloated bunch of manufacturing swill.

The news won’t disappear. Stuff will happen and word will get out. As the value of data decreases, communication increases.

And, music will survive. Cats who dig making it will continue regardless.

And believe it or not; there are salesmen who do it because it’s in their blood, in their souls. Those cats will seek out stuff to sell that they believe in and, that’s how it should be.

It’s the age of communication. It’s a righting of the ship. It’s a fucked up mess. Data isn’t a commodity but ideas will be and, it’s going to be OK.

We could use some salesmen in the music “community”. Cats who love to sell and can grasp the idea of selling ideas. Liaisons that that can foster relationships with fans and build careers. What we have right now is a bunch of talented musicians who are flailing around, spending valuable time, in a futile effort to sell themselves. The “idea” of themselves.

We could use people that can say; “You need to pay attention to this person. He/she/they have great ideas. Here’s a sample, take a listen.”, with passion and flair. That’s a true salesman. Some are throwing the term “trusted stewards” around. To me, it sounds like a diversionary tactic. Futurist babble. We need salesmen.

And, as we stumble through the fog, they will surface and re-surface. And…the show will go on. Trust me on that.

Scenario #1- I’m having a rough gig. Can’t hit my ass with both hands. I go for something, a lick, a bend, an idea and can’t find it. I feel like I’m constantly phrasing things a millisecond early or late. Just feeling off.

Scenario #2- I’m playing with precision. Everything falls under my fingers effortlessly. I’m nailing everything I go for. I am on.

Over the years, I’ve seen both play out many times.

The odd part is, and it’s happened over and over, at the end of the night with the first one; people come to me and say-”that was great!”. Can’t they tell? Can’t they hear what’s going on?

Conversely, after scenario #2…nobody comes by to compliment. Can’t they hear what’s going on?

Now, there have been times when I felt good about a performance and people have reconfirmed it for me and, nights where I played bad and heard “you seemed a little loose” as well. But, a lot of times it’s hard to figure.

You are always “transmitting” stuff that goes beyond the notes. Music is communication and there are things you transmit, that people receive, that run on a deeper level.

I have come to the conclusion that the trick is to try and be aware of what you transmit. It’s not really a “power of positive thinking” kind of deal. That’s more like “projecting”. In other words, if you look inside and get a glimpse of what you might be transmitting, rather than just trying to cover it up with some polyester hokum, you can let the transmission flow honest and natural.