"She will never learn the most necessary, most difficult and principal thing in music, that is time, because from childhood she has designedly cultivated the habit of ignoring the beat." Letter to Leopold Mozart (24 October 1777)
Speaking of which, since hypersensitivity regarding gender has already ruined comedy temporarily, and Melodyne and autotune have temporarily dulled music by taking the blues out of it, let us not ruin everything!
One year when I was going to Genesis concerts I thought: when the girls say. “Oh, they’re going to play the song that all the girls like,” I kinda knew from playing so much Genesis in public places that women did like this song a lot. [Now there are 60 genders or something, so one can’t say that anymore – just a way people used to speak.]
The reason there are so many musical recordings is that we all respond differently to everything we hear.
Are these three songs best
a) at night;
b) during the day;
c) as night falls
d) depends on my mood?
Are these three songs best
a) at night;
b) during the day;
c) as night falls
d) depends on my mood?
Full disclosure, I love these three as songs of civil dusk. I have been blessed enough to listen and watch all three bands perform the songs that way, as can be seen in the links below.
Are the songs better
a) in their live versions;
b) in their studio versions;
c) it depends on my mood.
Full personal disclosure again: to me, I usually like these songs better at night, though my mood upon listening usually takes over. Nothing to brag of, I know! How about you?
I compose morning Episcopal music. The musicians on this page? THANK YOU 👉🏽❤️❤️❤️!!! It is an interesting thing to take a Martin Luther or Ralph Vaughn Williams or Martin Luther hymn and change some of the 1600s harmonies into 2018 harmonies. Hint: fewer diminished seconds, more 9ths in place of same. In some keys, as C, the major 3rd is a harsh interval as the E, to allow for equal temperament, stretches toward the perfect 4th, the dreaded F.
Thanks for your help!
/matherton’s stepfather/
To me, the coolest thing about the entry of the drums with a savage rawness that makes this song one that “will outlive [me],” as Phil Collins referred to himself and how the song has become more famous than *he*is.
There are many opinions as to how fast In The Air Tonight by Phil Collins is.
These are the times I measured it.
To me, the coolest thing about the entry of the drums with a savage rawness that makes this song one that “will outlive [me],” as Phil Collins referred to himself and how the song has become more famous than *he*is.
The universality of being able to feel as though something is going to happen, especially at night, with an intensity that in the hands of most writers doesn’t translate. That is what music is for, correct? To express messages of any kind in a way humans have done far before their were any etchings on any cave walls.
But let me not drown (he’d throw me a lifevest if I was drowning, Phil would)
That sounds like it could be a bummer, but it is not! If someone told Shakespeare that in 600 years parents would still be naming their children Romeo and Juliet [and all the other turns of the English language that dates back to and were formed by the creation and performance of his dramas], would he even have believed it?
/matherton’s stepfather/
A lot of women would say at Genesis concerts: “Follow You You, Follow Me” is my favorite sing by this band. Men liked it because in the days that we Genesis fans brought girls to shows in the 1970s-2007, well, we knew we were labeled as “Dorks beyond…”
Follow You, Follow Me is a song Genesis wrote for their album AND THEN THERE WERE THREE. The reason for the title was that The Five member band had lost Peter Gabriel, who, uh, did pretty well on his own – in 1974. Peter’s family had an illness within and he had no moral choice but to leave the band. In Nicholas Nassim Taleb’s construction of a Black Swan event, Peter Gabriel’s solo career, beginning from the new sound that *popped* out of his first albums, and Peter’s creativity shows no sign of waning.
Both Gabriels’s and Genesis’ career [American grammar] along with Phil Collins’ career meet the theory I made up with no authority at all. It is called the The Edmund Fitzgerald rule (“TWOTEFR”). The surviving families of the Edmund Fitzgerald honored Mr. Lightfoot by asking him personally to write a song commemorating the twenty-nine lives that were lost on the wreck of the Edmund Fitzgerald.
I have never met Gordon en persona, yet musically, I was lucky enough to hear the song in my wife’s hometown of Philadelphia. Dr. Lightfoot played the same 12 string throughout most of his show, including TWOTEFR. My inductive hypothesis that might be garbage That song, in my opinion could ONLY have been written by Mr Lightfoot. I had to be (or not, I am a huge Nassim Nicholas Taleb reader, and I know I’m on thin ice here).
Gordon’s monologue continues, “I was flattered when they came to me and asked me to write an elegy like about the incident. When I first played it, I had no idea how they react. I was as nervous as I’d ever been but I can say that their appreciation is something that nothing in my career could ever surpass. I am always honored to play this song.”
The Gordon Lightfoot Rule needs a quick example: after a show in the 1980s Bob Dylan is known to have said something that is key example of TWOTEF rule – “[Sometimes after a show I think about having played a song as Like A Rolling Stone, and I say this not to brag, it just is. I think: did I actually write that song?” Meaning, simply, again, a song that the Black Swan Axiom notwithstanding, had to be. So it is not a rule as a law – it is an opinion in artistic taste. We are most careful here! I know you are if you have read this far.
A lot of women would say at Genesis concerts: “Follow You You, Follow Me” is my favorite song by this band. Men liked it because in the days that we Genesis fans brought girls to shows in the 1970s-2007, because if the women were actually happy at a show.
/n/
Never on a Gensis album is Phl Collins phrasing as string as Domino Part One.
Specifically, Genesis goes full existential.
Never on a Genesis album is Phl Collins phrasing as string as Domino Part One.
Specifically, Genesis goes full existential. After a let down from a lover, Phil sings in resilience despite pain:
Here in the glow of the night
do you *know what you have done*?!
do you *see what you’ve begun+?
could it be
the we will never be
together again?
“There’s no need to look outside,
To see or feel the rain”
/ias/
I have never changed a music purchase based with tempo itself as a motivational elemenrpt💯
The best songs hit me in the gut, viscerally.
I’ll usually like a song or not based on
1) liking the initial bodily pull from the harmonic rhythm;
2) liking the melodic sounds
3) liking the harmonic choices
4) liking the sonority.
Speed is something that rules music, Burt I have never changed a song in my of purchases based on tempo. All music I measure is purchased. I thank YouTube and WordPress firewall allowing recording embeds, borrowed never stolen. I’m a 40 year musician – I get it. Also a lawyer, thus being disbarred for stealing and REO Speedwagon hit? No thanks! Live ya Kevin Cronin, so know I bought everything I listened to before checking out GREAT performances from all the fantastically generous artists on YouTube💯💯💯.
I *have* thousands of purchases based obj whether I like the way that tempo is being used. I own every Pat Metheny Group, Genesis and Dave Matthews Band song. In the end, Carter Beaford of the Dave Matthews Band has been there most underrated musician alive since 1992!
♥️🌐🔹
/774ms/
Carole King wrote a song for Phil Collins. It is called Going Back.
Carole King wrote a song for Phil Collins. It is called “Going Back..”
median speed 
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