smart ain ah, a serious s'metin' eh
ok, due to the hot of the press rush job yesterday
[who f****n clove smetana][ie: previous entry]
[Sunday, October 15, 2006 approx 0200hrs]
[excuse the title's terrible anagram]
musical mind cookery:
take the following c.d.
#27 SMETANA spirit of bohemia[ccco27] classics ag
[the classical collection]1993 orbis publishing.
[any classical cd will do - some better than others -
but let this be the template]
note:
bear the following in mind whilst persuing the lesson:
-wheat and chaff
-ionisation
-heterolytic cleavage
-iron john scargill visits saturn
-axes between:
rich and poor
eastern and western european music
germanic and slavic music
jewish musical influences on eastern european music
[much more can be said of the jewish musical traditions,
as related to mediterranean, arabic,gypsy, latin, jazz,
reggae and blues music - but not here]
-latticeflab/ad busting
-domestication of real-emotional mankind into emotive mankind,
effected to reduce tension within communities in a factorial setting/process,
with high population density/space?
-y -chromosome activation [one for the real moon sitters ;-] ]
also:
-poposuction
-death/thrash metal
-dark bashment[ dark meaning moody cross etc]
[could equally include hardcore techno, drum and bass, certain hip hop]
-roots [mainly the superlative 70s era ]
[also present in vocal melodies - though also bass lines rhythm melodies and chord structures harmonies etc - it is the music ie melody/ harmony i am concerned with here]
-certain folk melodies [here i mean old old (often back to elizabethan times) british melodies usually of a minor or deep bluesy flavour]-etc.
-call and response patterns in music, whether sea shanties, roman galleys, work gangs, soldiers, field songs, workimg class songs of the early industrial era documenting the anguish of alienation and tradgedy etc
-alternatively, if you're programmed with that side of the coin, in the "black" arena: slave songs, spirituals,cotton fileds, black chain gangs.
-+-+-+-+-+-+-+-+-+-+-+-+-+-+
track 1. libuse overture[8.41]
czech straatsphilarmonie conductor: libor pesek
keep:
o:00 -> 1:30
2:06 -> 2:36
discard rest.[for this recipe alone, if you are unsure]
track 2. [ma vlast] vltava [11:56]
prague philarmonic, conductor: libor pesek
keep:
0:57 -> 2:47
3:46 -> 4:15
6:08 -> 6:38
6:57 -> 7:23
7:42 -> 8:32
[8:32 ->9:54
discard rest
track 3. [ma vlast][11:46] [as track 2]
from bohemias meadows and forests
keep:
0.00 -> 1:02
1:02 -> 1:20
2:19 -> 3:31
4:22 -> 4:50
5:26 -> 5:38
6:45 -> 7:53
8:07 -> 8:57
9:19 -> 9:43
10:07 -> 11:29
discard rest
track 4. [ma vlast][12:54] [as track 2]
blanik
keep:
0:00 -> 2:18
4:21 -> 6:37
7:03 ->7:26
8:02 -> 8:17
9:14 ->11:02
discard rest
from this point on , the cutting protocol was slightly different.
[so might see the odd other musical trace, ska echo, for example]
track 5. [the bartered bride][orch etc as track 2]
overture [6:40]
keep:
0:00 ->0:43
1:43 ->1:53
1:56 ->2:06
2:19 ->2:29
3:00 ->3:12
3:12 ->3:36
3:39 ->3:55
4:00 ->4:12
4:12 ->4:54
5:34 ->5:56
discard rest
track 6. [the bartered bride][as track2]
polka[4:30]
keep:
0:00 ->0:15
0:21 ->0:28
0:42 ->1:00
1:15 ->1:26
1:38 ->1:55
3:24 ->4:26
track 7. [the bartered bride][as track 2]
keep:
0:00 -> 0:04
1:03 -> 1:20
1:33 -> 1:44
track 8. [the bartered bride][as track 2]
the appearance of the commedians
keep:
0:00 ->0:14
0:14 ->0:26
0:26 ->1:10
1:22 ->1:34
1:47 ->1:56
2:03 ->2:09
2:16 ->2:20
2:38 ->3:00
3:43 ->3:48
3:53 ->end
note:
a] smetana cd was just there at the time
b] timings[secs] may be one out at either end
c] other recordings of same "tunes"may suffice but timing may be out
d] the notes, and things to bear in mind, are for guidance only, to see where musical resonances take place.
e] i am talking of melody and harmony and a little rhythm -though suggestions of vocal linked music are there in the notes[bear in mind]- their linkage is harmonic and melodic.
f] it is not intended to say one is better than other, this is about music
g] major music is not included here - leave that for the party
ok:
run them together neatly, [self-discretion]
set up studio,
go and sit in the mans hut [leave any ideological prisons/cages outside]
[simmer - according to constitution]
listen and reflect
this recipe makes a good cure for
overexposure to bland insipidity
[without taking on linked propaganda]
of course only a gang of covert spooks would be absurd and counterintuitive enough to think you can fit the whole cosmos of manifestation in one galaxy, [and perhaps the wizard of oz - and fort bragg quakkas]-
though outside of specific manifestation, in the realm of principal and theme, one can fit it
[the cosmos] anywhere and everywhere - though,to continue the metaphor, trying to stretch a galaxy to occupy the cosmos, well you'd need a big crab or a small barrel.
suggestion : try it with peer gynt
-realitystructure
[who f****n clove smetana][ie: previous entry]
[Sunday, October 15, 2006 approx 0200hrs]
[excuse the title's terrible anagram]
musical mind cookery:
take the following c.d.
#27 SMETANA spirit of bohemia[ccco27] classics ag
[the classical collection]1993 orbis publishing.
[any classical cd will do - some better than others -
but let this be the template]
note:
bear the following in mind whilst persuing the lesson:
-wheat and chaff
-ionisation
-heterolytic cleavage
-iron john scargill visits saturn
-axes between:
rich and poor
eastern and western european music
germanic and slavic music
jewish musical influences on eastern european music
[much more can be said of the jewish musical traditions,
as related to mediterranean, arabic,gypsy, latin, jazz,
reggae and blues music - but not here]
-latticeflab/ad busting
-domestication of real-emotional mankind into emotive mankind,
effected to reduce tension within communities in a factorial setting/process,
with high population density/space?
-y -chromosome activation [one for the real moon sitters ;-] ]
also:
-poposuction
-death/thrash metal
-dark bashment[ dark meaning moody cross etc]
[could equally include hardcore techno, drum and bass, certain hip hop]
-roots [mainly the superlative 70s era ]
[also present in vocal melodies - though also bass lines rhythm melodies and chord structures harmonies etc - it is the music ie melody/ harmony i am concerned with here]
-certain folk melodies [here i mean old old (often back to elizabethan times) british melodies usually of a minor or deep bluesy flavour]-etc.
-call and response patterns in music, whether sea shanties, roman galleys, work gangs, soldiers, field songs, workimg class songs of the early industrial era documenting the anguish of alienation and tradgedy etc
-alternatively, if you're programmed with that side of the coin, in the "black" arena: slave songs, spirituals,cotton fileds, black chain gangs.
-+-+-+-+-+-+-+-+-+-+-+-+-+-+
track 1. libuse overture[8.41]
czech straatsphilarmonie conductor: libor pesek
keep:
o:00 -> 1:30
2:06 -> 2:36
discard rest.[for this recipe alone, if you are unsure]
track 2. [ma vlast] vltava [11:56]
prague philarmonic, conductor: libor pesek
keep:
0:57 -> 2:47
3:46 -> 4:15
6:08 -> 6:38
6:57 -> 7:23
7:42 -> 8:32
[8:32 ->9:54
discard rest
track 3. [ma vlast][11:46] [as track 2]
from bohemias meadows and forests
keep:
0.00 -> 1:02
1:02 -> 1:20
2:19 -> 3:31
4:22 -> 4:50
5:26 -> 5:38
6:45 -> 7:53
8:07 -> 8:57
9:19 -> 9:43
10:07 -> 11:29
discard rest
track 4. [ma vlast][12:54] [as track 2]
blanik
keep:
0:00 -> 2:18
4:21 -> 6:37
7:03 ->7:26
8:02 -> 8:17
9:14 ->11:02
discard rest
from this point on , the cutting protocol was slightly different.
[so might see the odd other musical trace, ska echo, for example]
track 5. [the bartered bride][orch etc as track 2]
overture [6:40]
keep:
0:00 ->0:43
1:43 ->1:53
1:56 ->2:06
2:19 ->2:29
3:00 ->3:12
3:12 ->3:36
3:39 ->3:55
4:00 ->4:12
4:12 ->4:54
5:34 ->5:56
discard rest
track 6. [the bartered bride][as track2]
polka[4:30]
keep:
0:00 ->0:15
0:21 ->0:28
0:42 ->1:00
1:15 ->1:26
1:38 ->1:55
3:24 ->4:26
track 7. [the bartered bride][as track 2]
keep:
0:00 -> 0:04
1:03 -> 1:20
1:33 -> 1:44
track 8. [the bartered bride][as track 2]
the appearance of the commedians
keep:
0:00 ->0:14
0:14 ->0:26
0:26 ->1:10
1:22 ->1:34
1:47 ->1:56
2:03 ->2:09
2:16 ->2:20
2:38 ->3:00
3:43 ->3:48
3:53 ->end
note:
a] smetana cd was just there at the time
b] timings[secs] may be one out at either end
c] other recordings of same "tunes"may suffice but timing may be out
d] the notes, and things to bear in mind, are for guidance only, to see where musical resonances take place.
e] i am talking of melody and harmony and a little rhythm -though suggestions of vocal linked music are there in the notes[bear in mind]- their linkage is harmonic and melodic.
f] it is not intended to say one is better than other, this is about music
g] major music is not included here - leave that for the party
ok:
run them together neatly, [self-discretion]
set up studio,
go and sit in the mans hut [leave any ideological prisons/cages outside]
[simmer - according to constitution]
listen and reflect
this recipe makes a good cure for
overexposure to bland insipidity
[without taking on linked propaganda]
of course only a gang of covert spooks would be absurd and counterintuitive enough to think you can fit the whole cosmos of manifestation in one galaxy, [and perhaps the wizard of oz - and fort bragg quakkas]-
though outside of specific manifestation, in the realm of principal and theme, one can fit it
[the cosmos] anywhere and everywhere - though,to continue the metaphor, trying to stretch a galaxy to occupy the cosmos, well you'd need a big crab or a small barrel.
suggestion : try it with peer gynt
-realitystructure
posted by realitystructure at 10/15/2006 04:52:00 PM
0 comments
