http://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&feed=atom&action=historyZappa On Jazz From Hell - Revision history2024-03-29T07:23:53ZRevision history for this page on the wikiMediaWiki 1.34.2http://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=58511&oldid=prevJason.Kreitzer at 18:25, 21 December 20212021-12-21T18:25:35Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 18:25, 21 December 2021</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l13" >Line 13:</td>
<td colspan="2" class="diff-lineno">Line 13:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of [[<del class="diffchange diffchange-inline">wikipedia:</del>Maurice Ravel|Ravel]]'s "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of [[Maurice Ravel|Ravel]]'s "<ins class="diffchange diffchange-inline">[[Boléro|</ins>Bolero<ins class="diffchange diffchange-inline">]]</ins>" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Damp Ankles]]''' is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Damp Ankles]]''' is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td></tr>
</table>Jason.Kreitzerhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=50756&oldid=prevJason.Kreitzer at 13:46, 30 August 20212021-08-30T13:46:11Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 13:46, 30 August 2021</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l9" >Line 9:</td>
<td colspan="2" class="diff-lineno">Line 9:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[The Beltway Bandits|Beltway Bandits]]''' is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called ''The Chord Bible.'' Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[The Beltway Bandits|Beltway Bandits]]''' is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called ''The Chord Bible.'' Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[While You Were Art II|While You Were Art]]''' began as a guitar solo on a song called "[[While You Were Out]]" on an album released in 1980. A chamber group from ''Cal Arts'' commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so [<del class="diffchange diffchange-inline">[</del>Bob Rice<del class="diffchange diffchange-inline">]</del>] typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the ''Los Angeles Times'' critic, not the ''Herald Examiner'' critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[While You Were Art II|While You Were Art]]''' began as a guitar solo on a song called "[[While You Were Out]]" on an album released in 1980. A chamber group from ''Cal Arts'' commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so [<ins class="diffchange diffchange-inline">https://www.discogs.com/artist/527951-Bob-Rice </ins>Bob Rice] typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the ''Los Angeles Times'' critic, not the ''Herald Examiner'' critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td></tr>
</table>Jason.Kreitzerhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=45115&oldid=prevSpider of Destiny at 13:34, 13 November 20202020-11-13T13:34:10Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 13:34, 13 November 2020</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l24" >Line 24:</td>
<td colspan="2" class="diff-lineno">Line 24:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Category:1987]]</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td></tr>
</table>Spider of Destinyhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=24224&oldid=prevPropellerkuh at 05:55, 1 February 20072007-02-01T05:55:39Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 05:55, 1 February 2007</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l10" >Line 10:</td>
<td colspan="2" class="diff-lineno">Line 10:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[While You Were Art II|While You Were Art]]''' began as a guitar solo on a song called "[[While You Were Out]]" on an album released in 1980. A chamber group from ''Cal Arts'' commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so [[Bob Rice]] typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the ''Los Angeles Times'' critic, not the ''Herald Examiner'' critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[While You Were Art II|While You Were Art]]''' began as a guitar solo on a song called "[[While You Were Out]]" on an album released in 1980. A chamber group from ''Cal Arts'' commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so [[Bob Rice]] typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the ''Los Angeles Times'' critic, not the ''Herald Examiner'' critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[Jazz From Hell (The Track)|Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of [[wikipedia:Maurice Ravel|Ravel]]'s "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of [[wikipedia:Maurice Ravel|Ravel]]'s "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td></tr>
</table>Propellerkuhhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=14719&oldid=prevPropellerkuh at 05:55, 1 February 20072007-02-01T05:55:00Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 05:55, 1 February 2007</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l5" >Line 5:</td>
<td colspan="2" class="diff-lineno">Line 5:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[Night School]]''' started off as four or five chords, played into the Synclavier. I had some guys here hanging out in the studio one night and I was giving them a demonstration of the machine. I played these chords and saved them on a floppy, and that's how that one got started. Everything else was built up from that dahdahdat dadah thing. The melody that was super-imposed on top of it – it sounds kind of like a piano and kind of like a trumpet – was something I just improvised. All the rest of the rhythm-section data was added partially from the keyboard and partially from the Roland Octapads.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[Night School]]''' started off as four or five chords, played into the <ins class="diffchange diffchange-inline">[[</ins>Synclavier<ins class="diffchange diffchange-inline">]]</ins>. I had some guys here hanging out in the studio one night and I was giving them a demonstration of the machine. I played these chords and saved them on a floppy, and that's how that one got started. Everything else was built up from that <ins class="diffchange diffchange-inline">''</ins>dahdahdat dadah<ins class="diffchange diffchange-inline">'' </ins>thing. The melody that was super-imposed on top of it – it sounds kind of like a piano and kind of like a trumpet – was something I just improvised. All the rest of the rhythm-section data was added partially from the keyboard and partially from the Roland Octapads.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[Beltway Bandits]]''' is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called The Chord Bible. Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[<ins class="diffchange diffchange-inline">The Beltway Bandits|</ins>Beltway Bandits]]''' is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called <ins class="diffchange diffchange-inline">''</ins>The Chord Bible.<ins class="diffchange diffchange-inline">'' </ins>Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[While You Were Art]]''' began as a guitar solo on a song called "While You Were Out" on an album released in 1980. A chamber group from Cal Arts commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so Bob Rice typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the Los Angeles Times critic, not the Herald Examiner critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[<ins class="diffchange diffchange-inline">While You Were Art II|</ins>While You Were Art]]''' began as a guitar solo on a song called "<ins class="diffchange diffchange-inline">[[</ins>While You Were Out<ins class="diffchange diffchange-inline">]]</ins>" on an album released in 1980. A chamber group from <ins class="diffchange diffchange-inline">''</ins>Cal Arts<ins class="diffchange diffchange-inline">'' </ins>commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so <ins class="diffchange diffchange-inline">[[</ins>Bob Rice<ins class="diffchange diffchange-inline">]] </ins>typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the <ins class="diffchange diffchange-inline">''</ins>Los Angeles Times<ins class="diffchange diffchange-inline">'' </ins>critic, not the <ins class="diffchange diffchange-inline">''</ins>Herald Examiner<ins class="diffchange diffchange-inline">'' </ins>critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins class="diffchange diffchange-inline">Jazz From Hell (The Track)|</ins>Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of Ravel's "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[G-Spot Tornado]]''' is kind of put together as a twisted version of <ins class="diffchange diffchange-inline">[[wikipedia:Maurice </ins>Ravel<ins class="diffchange diffchange-inline">|Ravel]]</ins>'s "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Damp Ankles]]''' is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[Damp Ankles]]''' is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l21" >Line 21:</td>
<td colspan="2" class="diff-lineno">Line 21:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[St. Etienne]]''' was included because I felt it might be nice to have a contrast with something that sounded like a real live band in the middle of all the mechanical stuff.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''[[St. Etienne]]''' was included because I felt it might be nice to have a contrast with something that sounded like a real live band in the middle of all the mechanical stuff.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The last thing in the record is '''[[Massaggio Galore]]'''. I did a radio show for the L.A. Museum of Contemporary Art that will be on the air in the spring. It's one of the selections that was included in that radio show. The guy I did it with does this imitation in one part of the show of a radio disc jockey who is announcing a record by a group called the Scumbags and the name of the song was "Massaggio Galore." And that's the tune that was used in the show.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The last thing in the record is '''[[Massaggio Galore]]'''. I did a radio show for the <ins class="diffchange diffchange-inline">''</ins>L.A. Museum of Contemporary Art<ins class="diffchange diffchange-inline">'' </ins>that will be on the air in the spring. It's one of the selections that was included in that radio show. The guy I did it with does this imitation in one part of the show of a radio disc jockey who is announcing a record by a group called the Scumbags and the name of the song was "Massaggio Galore." And that's the tune that was used in the show.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td></tr>
</table>Propellerkuhhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=14718&oldid=prevPropellerkuh at 05:49, 1 February 20072007-02-01T05:49:16Z<p></p>
<table class="diff diff-contentalign-left" data-mw="interface">
<col class="diff-marker" />
<col class="diff-content" />
<col class="diff-marker" />
<col class="diff-content" />
<tr class="diff-title" lang="en">
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 05:49, 1 February 2007</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l5" >Line 5:</td>
<td colspan="2" class="diff-lineno">Line 5:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''Night School'''<del class="diffchange diffchange-inline">]] </del>started off as four or five chords, played into the Synclavier. I had some guys here hanging out in the studio one night and I was giving them a demonstration of the machine. I played these chords and saved them on a floppy, and that's how that one got started. Everything else was built up from that dahdahdat dadah thing. The melody that was super-imposed on top of it – it sounds kind of like a piano and kind of like a trumpet – was something I just improvised. All the rest of the rhythm-section data was added partially from the keyboard and partially from the Roland Octapads.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins class="diffchange diffchange-inline">[[</ins>Night School<ins class="diffchange diffchange-inline">]]</ins>''' started off as four or five chords, played into the Synclavier. I had some guys here hanging out in the studio one night and I was giving them a demonstration of the machine. I played these chords and saved them on a floppy, and that's how that one got started. Everything else was built up from that dahdahdat dadah thing. The melody that was super-imposed on top of it – it sounds kind of like a piano and kind of like a trumpet – was something I just improvised. All the rest of the rhythm-section data was added partially from the keyboard and partially from the Roland Octapads.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''Beltway Bandits'''<del class="diffchange diffchange-inline">]] </del>is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called The Chord Bible. Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins class="diffchange diffchange-inline">[[</ins>Beltway Bandits<ins class="diffchange diffchange-inline">]]</ins>''' is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called The Chord Bible. Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''While You Were Art'''<del class="diffchange diffchange-inline">]] </del>began as a guitar solo on a song called "While You Were Out" on an album released in 1980. A chamber group from Cal Arts commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so Bob Rice typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the Los Angeles Times critic, not the Herald Examiner critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins class="diffchange diffchange-inline">[[</ins>While You Were Art<ins class="diffchange diffchange-inline">]]</ins>''' began as a guitar solo on a song called "While You Were Out" on an album released in 1980. A chamber group from Cal Arts commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so Bob Rice typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the Los Angeles Times critic, not the Herald Examiner critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record<ins class="diffchange diffchange-inline">.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">'''</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">[[Jazz From Hell]]''' is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''<del class="diffchange diffchange-inline">Jazz From Hell</del>'''<del class="diffchange diffchange-inline">]] </del>is <del class="diffchange diffchange-inline">from within the last four months. It started off with </del>a <del class="diffchange diffchange-inline">patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound </del>of <del class="diffchange diffchange-inline">the patch was the tenor sax, but every time you</del>'<del class="diffchange diffchange-inline">d hit a note to get the tenor sax </del>you'<del class="diffchange diffchange-inline">d have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be </del>a <del class="diffchange diffchange-inline">gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so </del>you <del class="diffchange diffchange-inline">could get in </del>and <del class="diffchange diffchange-inline">style </del>it<del class="diffchange diffchange-inline">. That started off with me just laying down </del>a <del class="diffchange diffchange-inline">stylized melody line with the tenor sax</del>, <del class="diffchange diffchange-inline">and the rest was added as accompaniment</del>, <del class="diffchange diffchange-inline">like all </del>the <del class="diffchange diffchange-inline">keyboard parts; </del>the <del class="diffchange diffchange-inline">Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in</del>. <del class="diffchange diffchange-inline">Even though the intervals are a little peculiar, in some ways it</del>'s <del class="diffchange diffchange-inline">got the feeling like someone could have been comping that twisted </del>solo <del class="diffchange diffchange-inline">that's there</del>.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins class="diffchange diffchange-inline">[[G-Spot Tornado]]</ins>''' is <ins class="diffchange diffchange-inline">kind of put together as </ins>a <ins class="diffchange diffchange-inline">twisted version </ins>of <ins class="diffchange diffchange-inline">Ravel</ins>'<ins class="diffchange diffchange-inline">s "Bolero" where </ins>you'<ins class="diffchange diffchange-inline">ve got </ins>a <ins class="diffchange diffchange-inline">tune </ins>you <ins class="diffchange diffchange-inline">can recognize </ins>and it <ins class="diffchange diffchange-inline">goes through </ins>a <ins class="diffchange diffchange-inline">lot of orchestration changes</ins>, <ins class="diffchange diffchange-inline">segment by segment</ins>, <ins class="diffchange diffchange-inline">with </ins>the <ins class="diffchange diffchange-inline">synthesizer solos in </ins>the <ins class="diffchange diffchange-inline">middle</ins>. <ins class="diffchange diffchange-inline">That</ins>'s <ins class="diffchange diffchange-inline">another improvised </ins>solo <ins class="diffchange diffchange-inline">I stuck in</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''<del class="diffchange diffchange-inline">G-Spot Tornado''']] is kind of put together as a twisted version of Ravel's "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.</del></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''[[Damp Ankles<ins class="diffchange diffchange-inline">]]</ins>''' is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[<del class="diffchange diffchange-inline">'''</del>Damp Ankles'''<del class="diffchange diffchange-inline">]] </del>is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The dynamics of the velocity information exist in that computer as a list of numbers of amplitude values from 0 to 100. So 100 means that's all you get. That's as loud as it'll ever be. When there's no velocity information, all the parts are at 100 percent. It's fairly charmless, especially if you have kind of a synthesizer woodwind sound. It just grates on you after a while. C7 is the highest note on the keyboard so that's 100 percent. C7 equals 100. C2 is not the lowest note; the lowest playable note is A0, but C2 is about the quietest dynamic you might want to use. Below that it's very, very subtle. So you write an extra composition using only the notes between C2 and C7 and those pitches you type in in this auxiliary composition then become the dynamic code for the individual instrument that's reading that. So you set up a situation where the computer reads this other piece of music and converts the musical data into dynamics. That's how we did it. That's taxing the system.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The dynamics of the velocity information exist in that computer as a list of numbers of amplitude values from 0 to 100. So 100 means that's all you get. That's as loud as it'll ever be. When there's no velocity information, all the parts are at 100 percent. It's fairly charmless, especially if you have kind of a synthesizer woodwind sound. It just grates on you after a while. C7 is the highest note on the keyboard so that's 100 percent. C7 equals 100. C2 is not the lowest note; the lowest playable note is A0, but C2 is about the quietest dynamic you might want to use. Below that it's very, very subtle. So you write an extra composition using only the notes between C2 and C7 and those pitches you type in in this auxiliary composition then become the dynamic code for the individual instrument that's reading that. So you set up a situation where the computer reads this other piece of music and converts the musical data into dynamics. That's how we did it. That's taxing the system.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[</del>'''St. Etienne'''<del class="diffchange diffchange-inline">]] </del>was included because I felt it might be nice to have a contrast with something that sounded like a real live band in the middle of all the mechanical stuff.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins class="diffchange diffchange-inline">[[</ins>St. Etienne<ins class="diffchange diffchange-inline">]]</ins>''' was included because I felt it might be nice to have a contrast with something that sounded like a real live band in the middle of all the mechanical stuff.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The last thing in the record is <del class="diffchange diffchange-inline">[[</del>'''Massaggio Galore'''<del class="diffchange diffchange-inline">]]</del>. I did a radio show for the L.A. Museum of Contemporary Art that will be on the air in the spring. It's one of the selections that was included in that radio show. The guy I did it with does this imitation in one part of the show of a radio disc jockey who is announcing a record by a group called the Scumbags and the name of the song was "Massaggio Galore." And that's the tune that was used in the show.</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The last thing in the record is '''<ins class="diffchange diffchange-inline">[[</ins>Massaggio Galore<ins class="diffchange diffchange-inline">]]</ins>'''. I did a radio show for the L.A. Museum of Contemporary Art that will be on the air in the spring. It's one of the selections that was included in that radio show. The guy I did it with does this imitation in one part of the show of a radio disc jockey who is announcing a record by a group called the Scumbags and the name of the song was "Massaggio Galore." And that's the tune that was used in the show.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><div align=right>As told to Jeff Spurrier</div align=right></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Interviews with Zappa]]</div></td></tr>
</table>Propellerkuhhttp://wiki.killuglyradio.com/index.php?title=Zappa_On_Jazz_From_Hell&diff=14717&oldid=prevPropellerkuh at 05:47, 1 February 20072007-02-01T05:47:11Z<p></p>
<p><b>New page</b></p><div>By Frank Zappa<br><br />
Music & Sound Output, March 1987<br><br />
<br />
<br />
<br />
<br />
[['''Night School''']] started off as four or five chords, played into the Synclavier. I had some guys here hanging out in the studio one night and I was giving them a demonstration of the machine. I played these chords and saved them on a floppy, and that's how that one got started. Everything else was built up from that dahdahdat dadah thing. The melody that was super-imposed on top of it – it sounds kind of like a piano and kind of like a trumpet – was something I just improvised. All the rest of the rhythm-section data was added partially from the keyboard and partially from the Roland Octapads.<br />
<br />
[['''Beltway Bandits''']] is a really old one. The rhythm is a round, the parts are staggered. They're staggered so they interlock with each other. A simple rhythm becomes more complex, times four, when you copy the same part and stagger it a certain number of beats. The harmony that's used is all derived from this book called The Chord Bible. Every composer has notes, chords and rhythms that he likes to hear. Some people keep it all in their head and some people will jot down little sketches. Several years ago I made a classification of all of my favorite chords plus the order in which I preferred to hear the pitches in the chords arpeggiated. It's all broken down from three-note, four-note, five-note, six-note, eight-note chords. The chords are in different classifications, starting with those chords that have a minor second as the uppermost interval, major second, minor third, blah blah blah blah blah, all the way down to the fewest chords that have the minor ninth as the upper interval of the chord. There are real dense voice chords and chords that cover four or five octaves. There's a whole variety in the book. The harmony in "Beltway Bandits" is derived from Chord Bible harmony, and usually it's four- and five-note harmony. There are a couple of seven-note chords in there also.<br />
<br />
[['''While You Were Art''']] began as a guitar solo on a song called "While You Were Out" on an album released in 1980. A chamber group from Cal Arts commissioned me to write an arrangement of that guitar solo for their ensemble – cello, clarinet, two percussion, two keyboards. There might have been a flute, too. No guitar. The solo on the LP had been transcribed by Steve Vai and was available in this guitar book of solos, so Bob Rice typed into the Synclavier the original rhythms, which were all real complicated, and then taking that basic material I put it through a bunch of permutations and came out with this piece. They came over to pick up the parts and they looked at it and said, "Oh, this is real hard. We don't have enough time to rehearse it. What are we going to do?" I said, "No Problem. I'll have the machine play it for you and we'll make this tape and you guys will go on stage and you'll lip-sync it and nobody will know." And nobody knew. Not the Los Angeles Times critic, not the Herald Examiner critic, not the guy who ran the concert series. None of them knew they didn't play a note and that all the sound was coming off of a little cassette. They found out afterward, of course. So what? That's really the music of the Eighties. Nobody listens any more. You just want to watch stuff anyway. This is not that arrangement because that performance didn't even have any samples. It was all FM synthesis. That gives you a rough idea how far away from real sounds the performance actually was and people still didn't actually know. So when I got the polyphonic sampling system I took the thing they had played, put some samples on it, tweaked it again and that's the version on the record.<br />
<br />
[['''Jazz From Hell''']] is from within the last four months. It started off with a patch that was built that contained a tenor sax, some samples of this little string-section chords, odds and ends. The basic sound of the patch was the tenor sax, but every time you'd hit a note to get the tenor sax you'd have something else added to it. In one octave it might be a re-synth solo violin; another octave it might be a gut-string guitar. It was just a mix-and-match patch. It was pressure-sensitive so you could get in and style it. That started off with me just laying down a stylized melody line with the tenor sax, and the rest was added as accompaniment, like all the keyboard parts; the Fender Rhodes part in there is just me grabbing my favorite mystery chord at random and plopping it in. Even though the intervals are a little peculiar, in some ways it's got the feeling like someone could have been comping that twisted solo that's there.<br />
<br />
[['''G-Spot Tornado''']] is kind of put together as a twisted version of Ravel's "Bolero" where you've got a tune you can recognize and it goes through a lot of orchestration changes, segment by segment, with the synthesizer solos in the middle. That's another improvised solo I stuck in.<br />
<br />
[['''Damp Ankles''']] is probably about two years old. It had been sitting around. I've got boxes of floppies with compositions that have been started and are in various stages of development I've had since I got the Synclavier. I don't work on one thing all the way through. "Damp Ankles" was the one I had the most trouble with because of the nature of the sounds that were in it. When it was originally typed in, we didn't have a velocity keyboard, so I had to find a way to artificially impose dynamic information onto those sounds. I had tried replacing the original FM timbres that were used with samples and it didn't have the same character. So I went back to the original timbres to keep the original mood of the piece and then added some samples around it for the rhythm section. But it just wouldn't behave. I worked on that one for a long time.<br />
<br />
The dynamics of the velocity information exist in that computer as a list of numbers of amplitude values from 0 to 100. So 100 means that's all you get. That's as loud as it'll ever be. When there's no velocity information, all the parts are at 100 percent. It's fairly charmless, especially if you have kind of a synthesizer woodwind sound. It just grates on you after a while. C7 is the highest note on the keyboard so that's 100 percent. C7 equals 100. C2 is not the lowest note; the lowest playable note is A0, but C2 is about the quietest dynamic you might want to use. Below that it's very, very subtle. So you write an extra composition using only the notes between C2 and C7 and those pitches you type in in this auxiliary composition then become the dynamic code for the individual instrument that's reading that. So you set up a situation where the computer reads this other piece of music and converts the musical data into dynamics. That's how we did it. That's taxing the system.<br />
<br />
[['''St. Etienne''']] was included because I felt it might be nice to have a contrast with something that sounded like a real live band in the middle of all the mechanical stuff.<br />
<br />
The last thing in the record is [['''Massaggio Galore''']]. I did a radio show for the L.A. Museum of Contemporary Art that will be on the air in the spring. It's one of the selections that was included in that radio show. The guy I did it with does this imitation in one part of the show of a radio disc jockey who is announcing a record by a group called the Scumbags and the name of the song was "Massaggio Galore." And that's the tune that was used in the show.<br />
<br />
<div align=right>As told to Jeff Spurrier</div align=right><br />
[[Category:Interviews with Zappa]]</div>Propellerkuh