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  Ian Andrew Schneider 6:28 am on November 15, 2009 Permalink | Reply |
  Tags: "Dream On" (2), Aerosmoith, Alternative Therapy (38), BPM (35), bpm graph (36), chart (19), charter_school, Education (35), entertainment (111), graph (63), LeRoi Moore (18), Mathematical Psychology (57), Neurology (111), pattern (76), PoC (103), Psychology (136), Rhythm (124), self-control (48), Self-Help (81), self-hypnosis (57), Simon Cowell (22), Sir Paul McCartney (64), Speed (98), Steven Tyler (2), Tempo (162), Tempo Catalog (61), tempo map (21), theory (87), Time (67)   

  Aerosmith -Dream On -studio version and live version. Complete St. James Charter School tempo analysis: tempo maps, speed graphs, calibrations, video. Why is 77.45 bpm SO DIFFICULT? Right answer by December 3 earns: $774.59 

  “Dream On” by Aerosmith and is found on the CD called ‘Classics Live’ and ‘Aerosmith’s Greatest Hits.’

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School 0121

   

  The tempo maps at represent a comparison of the speed performance of the song played in the studio, charts and frequencies thereof with the speed performance of the song live.

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_22

   

  This is a case of “Meanspeed® Avoidance.”

  

  Dream_On - Aerosmith - St_JAMES_CHARTER_SCHOOL

  We will see more examples of it in the days and weeks to come. Notice how the song is comfortable as a lonely song, as played in the studio, or a song of grace, when played on stage–and the song in both cases plays many bets and measures in the meanspeed® –77-78 beats per minute, or, the square root of 60 seconds multiplied by ten.

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_2

  We saw this with Pearl Jam and their song “Black.” The meanspeed®, or “bittersweet” meanemotion, is very difficult to keep up, especially on stage, as are the emotions. It is easier to mourn something and be lonely about it than it is to say a long “good”-bye to [it], and it is easier to be graceful in their presence than maintaining the, well, way too long good-bye scenes, all scenes of which we are all experienced and I think probably wince in pain just thinking about the really bad good-byes.

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_24

   

  song title=”Dream On”

  performer=Aerosmith

  album=Aerosmith
  Recorded=1973
  Genre=Blues-Rock

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_24

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_23

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_20

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_23

  
  

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_25_2

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_18

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_27

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_25

  
  

  

  dream_on-st_james_charter_school_tempo_graphic_21.jpg

  

  Dream_On – Aerosmith – St_JAMES_CHARTER_SCHOOL

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_22

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_24

  
  

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_2

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_19

  

  

  We are the champions, my friend.

  
  

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_3

  

  Dream_On- St_James_Charter_School_Tempo_Graphic_22

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School 0121

  

  Dream_On_Aerosmith_tempo_map_St_James_Charter_School_26

  
  
  

  Length 4:27
  Writer=Steven Tyler
  Producer=Adrian Barber

  Aerosmith singles chronology
  Somebody Dream On One Way Street

  “Dream On” is a classic blues rock song in the key of F minor by Aerosmith from their 1973 debut album, “Aerosmith”. This power ballad became their first major hit. Although it peaked at #59 when it was originally released as a single back in 1973, it became a Top 10 single in 1976, when it was re-released as a single. This song was first played live in Willimantic, CT at the Shaboo Inn.

  The song rap artist Eminem sampled Dream Onfor his song Sing for the Moment from his 2002 album The Eminem Show. The song was re-made by Andru Donalds as the cover song for their album of the same name. It Ronnie James Dio (vocals) with Yngwie Malmsteen (flamenco guitar): they covered Dream On also.

  This song Buick’s commercials use dthe song, corresponding with their slogan, “Dream Up”.

  The song appeared as the closing theme to the Disney movie Miracle, and was also used in the closing credits of the movie Last Action Hero. The opening cut scene for the Tecmo video game Dead or Alive Ultimate also used DREAM ON.

  The song “Dream On” is part of the The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll list.[1] It is also ranked #172 on Rolling Stone’s list of the 500 Greatest Songs of All Time…”

  /Ian Andrew Schneider/
  26 October 2006
  NY, NY, USA

  revised and extended for the St. James Charter School, made available through the meanspeed music company, November15, 2009
  

  40.348718 -74.659047
   

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• 

  Ian Andrew Schneider 7:31 am on April 3, 2008 Permalink |
  Tags: be_your_own_doctor, bpm_chart (2), entertainment (111), free_download, graph (63), graphic (7), I Cant Get No Satisfaction, invisibly_obvious (2), Jagger, Keith Richards (4), meanspeed_constant, Mick, music_histogram, PoC (103), Richards, Ron_Wood, Self-Help (81), self-medication, speed_graph (2), speed_graphic, Spiron_Jagger, tempo_illustration, tempo_mapping (2)   

  The Music of Momentum – “(I Can’t Get No) Satisfaction” – Speed calibrations, Graphs – Method by Meanspeed Music Research 

  

  The Rolling Stone’s early albums were mainly covers of American blues and R&B songs. The band’s single, “(I Can’t Get No) Satisfaction,” established the Stones as a premier rock and roll act.

  Meanspeed-Carlton Music Summary, supervised by James C.C. Manning
  song=”(I Can’t Get No) Satisfaction”
  coomposers=Keith Richards, Mick Jagger
  average tempo (meanspeed)=135.4 beats per minute

  
  average beat=443 milliseconds
  Kind=Proteted AAC audio file
  Size=3.6 MB
  Bit Rate=128 kbps
  Sample Rate=44.100 kHz
  Volume=(-8.2 dB)
  Profile=Low Complexity
  Channels=Stereo

  
  FairPlay Version=2

  
  intellectual property=© 2002 ABKO Music & Records

  
  Ian Andrew Schneider
  May21, 2008

  Web	Results 1 – 10 of about 7,410 for speed tempo I can’t Get No Satisfaction Rolling Stones. (0.15 seconds)

  1.

  The Rolling Stones

  

  ‘(I Can’t Get No) Satisfaction‘ gets first prize by being marvelously balanced ….. and since tackling it at mid-tempo speed kills off about half of the … starling.rinet.ru/music/stones.htm – 184k – Cached – Similar pages – Note this – Filter

  2.

  Rolling Stones

  

  Would you let your daughter go out with a Rolling Stone? No way! …. really need another live version of ‘Brown Sugar’ or ‘(I Can’t Get No) Satisfaction‘. … starling.rinet.ru/music/stones1.htm – 312k – Cached – Similar pages – Note this – Filter [ More results from starling.rinet.ru ]

  3.

  The Rolling Stone Interview: Mick Jagger : Rolling Stone

  

  The Rolling Stones were just starting to play some clubs around London, …. Is there anything more to say about “(I Can’t Get No) Satisfaction” than has … www.rollingstone.com/artists/mickjagger/articles/story/5938394/the_rolling_stone_interview – 84k – Cached – Similar pages – Note this – Filter

  4.

  Steppenwolf: Steppenwolf The Second : Music Reviews : Rolling Stone

  

  (Consider “I can’t get no satisfaction.”) “Don’t Step on the Grass, Sam” is a good example of … any more than, say, the Rolling Stones are a blues band. … www.rollingstone.com/artists/steppenwolf/albums/album/305779/review/5944186/steppenwolf_the_second – 45k – Cached – Similar pages – Note this – Filter

  5.

  The Rolling Stones Atlantic City show 2006 by IORR

  

  For the encore, “You Can’t Always Get What You Want” got off to a wobbly start, with Mick motioning to Charlie to speed things up a bit. “Satisfaction” … http://www.iorr.org/tour05/acity.htm – 37k – Cached – Similar pages – Note this – Filter

  6.

  The Rolling Stones Philadelphia Oct. 12 2005 show by IORR

  These are the latest Rolling Stones news and updates for you! … Of modest interest was the fact that “You Can’t Always Get What You Want” led into the …
  http://www.iorr.org/tour05/philly2.htm – 32k – Cached – Similar pages – Note this – Filter
  [ More results from http://www.iorr.org ]

  

  40.348718 -74.659047
   
• 

  Ian Andrew Schneider 4:44 am on July 18, 2009 Permalink | Reply |
  Tags: bpm_graph (2), Carlos Santana (3), contemporary_tempo_map, foreboding (2), music (135), Neurology (111), placebo_effect, Psychology (136), psychology_of_tempo_map, Rob Thomas, Smooth, speed_map, Tempo (162), tempo_graph (2)   

  The Psychology of the Speed of Foreboding and the Secret of Thomas & Santana’s “Smooth” – Meanspeed calibrations, tempo maps, video example of a song that virtually defines the territory in which it sits (~114-117.7 bpm) 

  

  SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 2

  The psychology of determinism and fatalism enters in to play because without the underlying un-ease that 116 beats per minute almost always brings to a song of that speed. The SECRET of “Smooth” simply the speed. Look at the list of hundred of songs at or with 114-118 bpm, on this page or anywhere else you can find accurate bpm, the pattern of foreboding expression smacks you in the face, as if to say this is clear to the point of obvious – how could no one have noticed this before? Here, right in the middle of this haunted speed, a rocking song about the anger a man has when argues woman he loves, casting a haunted, foreboding shadow both over their relationship and a shadow over the song itself.

  

  What is foreboding, anyway? Courtesy of Mirriam Webster’s Collegiate 11th edition: coined c 14 c.–an omen, prediction or presentiment esp. of coming evil: portend. Most useful: the descriptive word “foreboding”‘ is the presentiment or foretelling which indicates that the speaker/singer/musician feels an indescribable force–often, as noted, a bad omen. Then again, as anyone knows who has been in a situation where all hopes seemed dashed by a terrible sign of things to come, all matters about which you stress are resolved with a positive ending .

  

  SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 1 copy

  The average beat, or the speed of the song expressed as beats per minute on this live recording= 116.1 beats per minute.
  The average beat= 517 milliseconds.
  The mean slow phase= 1.94 beats per second.
  The corresponding tone= 495.36 hertz.

  

  SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 1 copy

  Rob Thomas from Matchbox Twenty wrote this with Itaal Shur, a songwriter and producer who has worked with Jewel, Robi Rosa and Maxwell (co-writing his first hit, “Ascension (Don’t Ever Wonder).” Says Shur: I was already active in the music business. I had some hit records with Maxwell and I was already touring the world with Groove Collective, so people knew me more in the underground scene, but I wasn’t as big as Rob Thomas, of course. My manager at the time told me that Pete Ganbarg, who was working at the time at Arista, he was looking for music for the new Santana record. At the time, I had my own band and was performing a lot around the city. I jumped at it because I grew up with an older brother who hipped me up to Classic Rock and I always loved Santana. I went up to the office and I wanted to hear what they had first to see what kind of direction they were going for, and when I went up there I heard the Wyclef track, I heard the Dave Matthews track, I heard a couple of other tracks, and I realized there wasn’t the kind of track that was, in my opinion, a standard Santana groove like Black Magic Woman, Oye Como Va, Evil Ways. So I went home and wrote this track on guitar with all the arrangements called Room One Seven. It was about this couple that meet after a long time and have a little tryst in the hotel room. I brought it to Arista and they loved the instrumental and they liked parts of the melodies, but they didn’t like the lyrics – they thought it was a little too sexual for Santana – so they asked me if I wanted to work with Rob Thomas. I didn’t know him; I’d heard a little bit about Matchbox Twenty. He happened to live at the time in Soho very close to me. He came over and he had already written the verses to the instrumental that Arista gave him. I had a chorus that had the same melody: ‘Room One Seven on the seventeenth floor. Take the elevator and I’ll meet you at the door.’ He didn’t have a chorus, so before he came, I changed the words around to, ‘Give me the ocean, give me the moon, give me something hot to make my body move,’ and this turned into the chorus that we all know.”

  Thomas sang lead on this, but when he was writing it he thought they were going to use someone else. He and Shur would try to figure out who they would get to sing it, but then Arista contacted Thomas and asked him to do it.

  Many of the lyrics are Thomas’ ode to his wife, who is Puerto Rican (“My Mu Equita” translates to “My Little Doll” in Spanish). She ended up in the video.

  Shur: “The guitar solo from my demo, Santana copied that solo, which was a huge compliment and all the breaks were also on my demo. It was really weird, my demo was kind of like a template for the live band to play. They sped up the song 2 beats: it was like at 1/13 and went to 1/15 and it went from A Flat Minor to A Minor. They played it as a band and recorded it all live, pretty much. Me and Rob, when we were writing the song, the verses were fine, but we went through about 4 or 5 changes with the record company; from like, “Give me the ocean, give me the moon,” “You’re just like the ocean…” Pete Ganbarg, who if it wasn’t for him this song wouldn’t have come together because he put me and Rob together, he said some really good comments about the lyrics – he was an English major and really picky about lyrics. It was a really good collaboration.” (Thanks to Itaal for speaking with us about this song. For more, check out itaalshur.com)

  This won Song Of The Year, Record Of The Year and Best Pop Collaboration With Vocals at the 2000 Grammys. Supernatural also won for Best Rock Album and Album Of The Year. (thanks, Jim – Oxnard, CA)

  Clive Davis is a legendary record executive who was the mastermind behind this album. Santana had not had a hit since “Hold On” in 1982, so Davis teamed him up with contemporary musicians like Wyclef Jean, Everlast and Lauryn Hill to make sure the younger generation took notice. The result was a wildly successful album that went over well with Santana’s old fans and created a legion of new ones. This was the first single, and it spent 12 weeks at #1 in the US.

  Santana has the distinction of waiting the longest between his first charting single and first #1 hit. In 1969, “Tango” hit #56 in the US, and 30 years later this was #1. (thanks, Edward Pearce – Ashford, Kent, England)

  Get Artistfacts for

  Ray, you’re legend… Hip hop and rap were good in the 80s and early 90s but hell, you can’t beat real beats and lyrics - Luke, Manchester, England

  This song is unbelievable. Santana is unbelievable. Boy bands have no talent other than that have choreography. I’m only 14 but i wish the 60s and 70s were around because hip-hop and rap are ABSOLUTELY TERRIBLE and that boy bands have NO TALENT whatsoever. hip-hop and rap is just screaming fast rhyming poems. Boy bands dress in sequin and dance around with choreography and they can’t write music or lyrics for their life. This song showed that boy bands and hiphop rap aren’t good. In the 60s, and 70s bands and artists did drugs for the lyric process. Now rappers do drugs because their amped up crack addicts who do it to be cool. It’s terrible. This song symbolizes that rap and boy bands are boring and that the 70s still rule. - Ray, Stockton, NJ

  this song had to be on the vh1 countdown for at least 3 years and who knows, it’s probably still on. - Rick, humboldt, IA

  Quick correction: “My Muñequita” not “My Mu Equita” - Otto, Miami, FL

  In the 30’s Big Band was popular. In the 50’s Doo Wop was popular. In the 60’s Protest Songs were popular. In the late 70’s Disco was popular. In the 80’s Synth was popular. In the late 90’s Boy Bands were popular. Now Rap and Hip Hop is popular. What will come next? This song gives me a pretty good idea that it will be Latin music of some kind. - Mason, Prior Lake, MN

  

  SMOOTH - Rob Thomas - Carlos Santana - meanspeed contemporary tempo map - the speed of foreboding 2 copy

  /Ian Andrew Schneider/
  July 18, 2009

  this  is an updated version of an article published here on Ocotber 12, 2007

  (this is an updated version of an article I wrote and first published on May 26, 2006)

   
• 

  Ian Andrew Schneider 2:17 am on October 2, 2009 Permalink | Reply |
  Tags: Alternative Therapy (38), beats per minute (64), bpm graph (36), Cognitive Tempo (37), Education (35), entertainment (111), George Harrison (53), graph (63), Here Comes The Sun, John Lennon (64), Mathematical Psychology (57), meanspeed music rule, Mood (13), music (135), Neurology (111), pattern (76), PoC (103), Psychology (136), Revolver (24), Rhythm (124), Ringo (5), self-control (48), Sir Paul McCartney (64), Speed (98), Tempo Catalog (61), tempo map (21), The Beatles (50), theory (87), Time (67), Timing (91)   

  HERE COMES THE SUN – Tempo Map, Live Video, Contiguous Consecutive Measurement by the meanspeed® free school 

  “Here Comes The Sun” is a song written by George Harrison in the garden of Eric Clapton’s manor home in England.  George was in a state of joy when he wrote the piece, as the final album by the Beatles, Abbey Road, from which the meanspeed® school contemporary map was synthesized.

  

  "Here comes the sun, and I say: It's Alright" - the late GEORGE HARRISON. Tempo map by the meanspeed® school

  

  Here Comes The Sun / iTunes® by Apple® screenshot from the meanspeed® school

  song=HERE COMES THE SUN

  composer=GEORGE HARRISON

  performer=THE BEATLES

  album=ABBEY ROAD

  arithmetic mean speed/expected average tempo=129.8 bpm

  file kind=MPEG audio file

  size=7.8 MB

  bit rate=320 kbps

  sample rate=44.1oo kHz

  format=MPEG-1, Layer 3

  channels=Stereo

  ID3 Tag=v2.2

  encoded with=iTunes® 8.0.2

  tempo maps, bpm measurements, graph synthesis=Ian Andrew Schneider and Newman Neumann

  negotiation with the George Harrison Estate=Mr. Joseph Daluva

  

  “Here comes the sun, and I say: It’s Alright” – the late GEORGE HARRISON. Tempo map by the meanspeed® school

  

  contemporary tempo map – HERE COMES THE SUN – Beatles – meanspeed school

  
  

  

  HERE COME THE SUN – information provided by iTunes® by Apple®

  

  HERE COMES THE SUN – how to add bpm to YOUR playlist: highlight song, press

  
  

  

  Here Comes The Sun / iTunes® by Apple® screenshot from the meanspeed® school

  
  

  I have heard many opinions about feelings and emotions in regard to Here Comes The Sun.  So said, search as I did for any trace of a precisely accurate tempo calibration or map left me very high and very dry.  So as we do, Newman and I did the work.  Hope you can use it.

  /Ian Andrew Schneider/

  Newman Neumann

  The Meanspeed® School

  October 2, 2009

  happy birthday to my wife N and Sting and Michael Rutherford and John Lennon all you styling “children of early October”

   
• 

  Ian Andrew Schneider 8:38 am on November 12, 2009 Permalink | Reply |
  Tags: Billie Jean King, dictate_tempo, Elton John (9), PHILADELPHIA FREEDOM, St. James Charter School, tempo_map (4), The Sound Of Philadelphia   

  Soul Train’s Second Caucasian Performance: Elton John, PHILADELPHIA FREEDOM. Tempo Analysis by the St. James Charter School: arithmetic mean speed= 125.8 bpm, the speed of Victory. Tempo Graphics, BPM Graph, Video included. The song: aching to be remade? Yes! 

  In 1975, Elton John became the second Caucasian man played the famed Philadelphia based television show, SOUL TRAIN.  The first such white-skinned person who sang LIVING INSIDE MYSELF, by the Italian “Stallion,” Gino Vannelli.

  

  Philadelphia Freedom - Google Chrome Search for Speed

  

  Philadelphia Freedom - Elton - tempo graphic - Petite

  It was said after this performance, John Lennon said, “this guy is going to be *huge*.”

  The Windows® screen-shot of the Google® Chrome® search of the speed of this ground-breaking song by Elton, originally written by the singer0songwriter for a fellow celebrity and her cause: Billie Jean King and her 1970s Team Tennis and her team: The Philadelphia Freedoms.

  

  Philadelphia Freedom - Elton John - Tempo Graphics by St James Charter School 2

  

  Philadelphia Freedom - iTunes® screen shot 2

  The song works on three main levels: the blues scale, the English Hymnal and the Sound of Philadelphia, a/k/a, TSOP.

  

  Philadelphia Freedom - Elton John - Tempo Graphics by St James Charter School

  wiki link http://en.wikipedia.org/wiki/Philadelphia_Freedom_(song)

  Ian Andrew Schneider
  St. James Charter School
  November 12, 2009

  1. 
     

     Gino Vannelli – Wikipedia, the free encyclopedia

     Gino Vannelli lives and works in Amersfoort,The Netherlands as well as the United States. His music is also heard on popular European television and radio …

     Early years – 1970s – Early career – 1980s – 1990s

     en.wikipedia.org/wiki/Gino_Vannelli – Cached – Similar