Over there I've encountered a meme circulating around, and as above, and embedded journal I am, I could not resist the curiosity to get involved.
is to transcribe the second paragraph on page 179 of the book I'm reading, so here it is:
"When she looked at Pauline, started. It was Pauline! Even with his clothes looked as bleak another person, younger, as if he had suddenly lifted a heavy burden. It was not his face or his mouth or his forehead that had changed. All the change came from the secret joy that animated his black eyes. Something unknown to all she produced an endless inner joy. " Maria
Dermoût, The ten thousand things
Page 179, another book I read, oddly enough is the last of the novel not yet published by my friend Juan Pablo, thus a real bitch I would transcribe the final paragraph.
What I do is include in this year's song No. 179, itunes library, and the second song that I prescribe Calypso (in rigorous random order) from this time.
is a common thing in this business have to explain the music you make, it seems very normal and logical, but until you try it you realize how absurd it is, especially when the philosophy of what you mean spend by lining descriptive conventions and forget about genres, styles and trends. I usually create grotesque and embarrassing situations in which they remained hopelessly badly. "... pueees is cooomo" pfffff, is appalling. I've a lot of ink and wasted many hours of discussion trying to define what it is exocet beyond being a newspaper and so do I have to avoid saying too much. This time I'll try another way , to see if now I come to something. There are essentially two ways that complement each other: The one comes from the music I've heard all my life: pop song format. Understood by that pop ranging from jazz standards to the clash . That is the way song, with verses, choruses and contrasts. The song is common to almost everyone on the planet is something that binds us, something that, despite the prominence of the voice, the tongue goes into the background. is a universal vehicle. We enjoy songs in Swahili, in Breton or Purépecha but not understand a word of what they tell us: the music is so powerful that all we need to invent our own history.
The other has to do with the personal, the need to find and express their own musical identity, not without influence, but ultimately something I can call my own. With the how to make the songs reflect my life, my privacy, my step this ephemeral world.
how it manifests itself in music? Here I stop at a couple of things: On one side is trying to achieve that harmony has various colors and shades. I do not seek complication or complexity, but the chords detonate the atmosphere on which the song is to swim. This phase of work usually do at the piano, before getting to programming. Possibly the piano track will then be discarded and the voices of the chord redistributed to give subtlety to the harmonic motion.
The second thing that I pay particular attention is the sound, which is like the skin of the song, and here I like to contrast timbres ear known as pianos, guitars, etc., with atmospheres specially built for each subject either by synthesis, samples or other techniques. I like unusual sources, I like how ineractúa sound over another, as noise becomes music and vice versa. I like that border and I enjoy arousing. Each song represents a unique moment, and therefore must have a special sound. This route takes me farther and farther away from the taste of people, but I approach the illusion of my sound, which is the main reason for the job. Who knows why, pure folly. The latter laying me question is often the language, why a Mexican writing in English? This question has taken away the dream, I have suffered enough and has had several answers, all unsatisfactory. The more honest I think it's this: When I start working on the voice of a song 99% of the time I have not written a word of the lyrics, and what I do is to test against music melodies trying connect with the most intuitive and irrational in my brain, because I realize that the voice is more expressive than going to be on the track and I'm interested to have an emotional charge. In this search of the melody the words automatically come in English, I guess because most of the music I like is in that language to talk to horses, and because it's easier to flow well, without having to worry about rationalizing. Usually this process words or phrases that appear in a semi-conscious I end by suggesting the basic ideas of the letter, and the times I've stopped translating the failure has been dismal: the sound does not convince me and the words are too tight. I guess that's a sign that I'm pretty bad at writing, and must be true because it does not bother me. I've always been the voice (if I may) as an instrument. For the words I prefer books. I do not care too much what people say singers. Most of the time I disappointed when I pay attention. The lyrics of my songs have to be unintelligible to the listener. They always talk about intimacy, things that hurt, insecurity and fear, but perhaps only codes that I understand. Again I do not care. The only thing I try to tell the truth, or lie, which is not the same. was not very clear.
the end will be better to have that every week I receive an anonymous call to a voice sensualísima I hum the songs to your ear, or that come in lucid dreams while flying over Lake Tanganyika (that would love to certain people I know who are the mystics are) or that are lost songs from Milli Vanilli ... If everything is a lie why not say it's music for horses?
is no doubt that the acoustic guitar ("classical" or "English ") is a marvelous tool, is portable, lightweight, capable of constructing complex chords, counterpoint allows melodic, and has a rich timbre harmonics. The sound power emitted by wrapping very well to the human voice without competing with it. It is perhaps the most versatile instrument.
No wonder it has been used to accompany the misery of many souls, giving rise to that that horribly called "bohemian" (a middle-class mystery more) When I was growing up in the seventies, the world was full of "troubadours" musicians who were very profound poets, who saw themselves as guerrillas wielding their guitars and guns in the battle for freedom. In Cuba we arrived Silvio Rodriguez, Victor Jara Chile. In Mexico we had Oscar Chavez and Spain Paco Ibáñez. To mention those who lived closer. All my respects. I will not mess with their musical quality, or their ideological positions: Everyone does what he can with what you have. What I'll tell you my personal experience. It I went to school to give a "left", my classmates were the sons of renowned intellectuals, my teachers militant activists, and of course the "soundtrack" was basically Silvio Rodriguez with his regrets and lost blue unicorn (according to recent findings seem that he stole my little pony). What nightmare. At twelve boys are in total uncertainty. Some of them are teenagers, some are still children and most do one or the other. I was among those who were still children, was the shortest in the class, along with Inti, my soul brother, constant targets of abuse of older generations all had above. The freshman year was horrible. This has made my phobia trova, and especially by Silvio Rodriguez, is deeper than just a musical disappointment: it is a full-blown phobia, my body breaks down, I get dizzy and nauseous. No exaggeration. So when I first heard music based I went synth head. I had a hard time overcoming the trauma, and although the "trova" is making me run, the idea of \u200b\u200bthe guitar and voice stings me less and less, and largely thanks to Nick Drake. My sister Aisha, who is a music lover, I recommended him when I was in my Sylvianesca stage, but I had no chance to listen to a couple of years was one of those moments when you're tired of hearing the same thing but while nothing new you like, also went through a severe crisis of creativity. In the Sant Pau library I came across Pink Moon and I took him to rely on the musical taste of Aisha. I had no idea what I waited, and I confess that the first four bars I produced a shift in the stomach, but when I prepared a cold sweat, I realized that this was not so bad, not bad ... I actually caught. Nick Drake's music is unconventional. It is extremely simple, almost minimal. But the spell, sure, it is his voice, and here I will make another presentation, with your permission. I think singing is essentially a sham, is a struggle between who we are and who would want to be. Singing is as naked, is to expose what nature has given us, and as we practice we are "wearing" our voice. I lived in the flesh, and is also evident in the 99.99% singers. We protect ourselves with art, technology or whatever it takes. Fascias, from Montserrat Caballé to Johnny Rotten. The naturalness of the voice of Nick Drake was overwhelming me, and therefore I think your music has the virtue of recognizing their own individuality, is the music of someone who knows he is alone in the world, and knows it absolutely inevitable. When a musician reaches that level of uniqueness as an individual is assumed to be unique, it breaks every genre in one fell swoop, it is automatically placed above all frivolity. I will not mess with the myth that has become because I think it's hold over his death than his life. As an example, here is Road disk Pink Moon, 1974, and to thank him for his music I have Solid Air, the album's title track that he dedicated his friend John Martyn in 1973, and version of Pink Moon I did in 2004. Who knows the original will know that it is infinitely better than mine, everyone does what he can with what you have. Make a version or "cover" is an exercise in trying to do one or two times a year: in addition to what is learned, provides a very interesting relationship with the composer, especially if the version is not intended as a decal but a reinterpretation of the original. In this case, while was discovered that part of the charm is the strange tuning the guitar: when I put a sample of the song for processing in the metasynth I found a series of harmonics that I expected. I will not be so foolish as to put here the two versions, first because it would look like a wimp, then it is a chance that he does not know listen to something else. ROAD
You can say the sun is shining if you really want to I can see the moon and it Seems so clear Puede take the road That Takes You to the stars now I can take a road that'll see me Through
