Silver Supporting Member
Struggles are very much shared, I presume. I appreciate the feeling because I've come to realize that I need the mess sometimes, it's a sign of mental health to get drunk sometimes in this insane world we live in. And when I allow it to myself, it becomes less tempting I guess. Maybe. The other thing I've come to realize is that we notice only maybe 25% of what happens to us, so when a good thing happens and we notice it, it's worth a fewI need my room. Physicality, harmonics, acoustics. But everyone's room is special, and everyone should have a room. I look forward to learning more/what I can about recording but just understanding one room, any room, is so very interesting
but the kind of understanding that allows one to create a virtual room - that is very big understanding, yes it is; we are coming to need to be able to take our rooms with us somehow. Do we all need to keep a bag packed, by the door? Is there room, in our bag, for our room?
OH man, m ~ or better, \m/ ~ yes, henceforward, thou shalt, when appropriate and with your permission, be abbreviated "\m/" because
anyway your kind ears and words helped me get up and do stuff today ~ thank you
Lauri, so interesting ~ you're spinning it for fun but that feeling ... I'm working on some things, revisiting things I left long ago and the feeling, trying to sort it out, remember and make work in real time ... really close to drunkenness, or waking up from it and trying to clear away. I won't drag you or anyone over the shards of my broken-glass consciousness unnecessarily, but suffice to say, I have to really think about it and that seems to create the feeling of a drunken mess
... I remember long ago, as I'm sure many have, noticing sequences of major and minor triads contained within whole-step, half-step, or the half-step, whole-step symmetrical scales, the latter being great for dom7b9#9nat13 chords and partials. I used to write lots of arrangements fooling around with that, but it never helped much with my daily bread. But lately - well I wouldn't want to corner anybody but some of the great players we listen to around here are are just beyond fluent in and can improvise with symmetrical scales, weaving in and out of them with the ease of breathing, and that's been an inspiration to go back to some of the things I noticed myself and try to get somewhere new for me.
- it's muddied a bit by the festival mayhem - ahem - so, there's an interruption on the V at about the middle point, stuttering the G# harmonic on the sixth string against open E, and the B and E harmonics inbetween about the second and fifth fret, and then an attempt to work that sound against a major triad sequence from the symmetrical scale. That sequence starts off on a Db major 2nd inversion into implied Bb major with a bend, then a shift and a bend into the third for a G triad 1st inversion, then the fifth in E major 2nd inv. up to imply Db maj, then Bb 1st inv., finally G 2nd inv. into E followed by Db and then (maybe?) kinda folded back down to A ... well taking all those thirds and fifths into and out of tune with the interesting help of the Fuzz Factory (which, sometimes, bent triads are just beautiful with that fuzz) ...
Which - not to imply you share the mental struggle - not at all - nonetheless, for some interesting reason, this is a feeling you never fail to appreciate with particular nuance and depth, Lauri.
thank you I love it
ah dear. never enough time is there