Dave Lovelace said:
> I don't know where I'm going with this except to say I'm very excited
> to have actually been tapped for 2005 after tarrying at the end of a
> pretty long waiting list.  I'm glad it actually panned out for this
> year and am looking forward to meeting everyone in September!
>
> Road trip!  CT to CO in two days?  In a Camaro full of keyboards?
> Sure!  Thanks be to Matt (and God) for driving me the rest of the way
> though!  :o)

He keeps calling me Matt. WHY does he keep calling me Matt? If this keeps up,
Otso and Nick and I will have to strap him to the luggage rack on top of the
van, the better to enjoy the scenery...

mike


--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com

> He keeps calling me Matt.

Professor Matt Metlay... Wasn't he in Fireball XL5?

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

JEMPolyUnRex@... said:
>
> In a message dated 7/20/05 12:38:36 AM Eastern Daylight Time,
> david@... writes:
>
> beautiful.
>
>
> My sentiments exactly. That's quite an impressive brainstorm Cynthia!
> There's enough room in your concept to accommodate all the other concepts
> presented so far. Dave will have his work cut out for him as he develops the
> visuals to enhance this presentation.
> With all this brain power being put into the performance, I believe that  the
> audience attending this year's DS is in for a real treat.

I think that will be true regardless of the format of the final concert, but I
think that unless we see a lot more compositional/organizational activity in
the next six weeks than we have already, it will be in everyone's best
interest to keep it loose, as anything too tight will strangle us.

I would be content if everyone came to the show with one or two easily taught
ideas of some sort or another... either structural concepts like the neat
ideas Otso put out several weeks back, or even just a simple chord chart. If
John Duval and Giles Reaves don't mind, I'm going to suggest a DS rework of a
couple of the numbers they and I did with Darwin at the mindSpiral concert
last April; either "Swerve", which is a particularly uptempo piece that would
do well with Tim's algorithmic datasurge underneath and all of the Daves
taking turns soloing over the top (Lovelace, Fulton, AND Tristram), or
"Ecliptic", which would make a good finale.

Folks who are good at quickly assembling and reading simple chord charts will
be in demand for that sort of thing, while the more soundscapy folks will have
lots of room for transitional material and "spaces to breathe". Should be room
for everyone, I hope.

mike

PS. I actually have to watch what I say about DS. Cynthia removed herself from
the wait list, apparently permanently, a few days after we talked on the
phone, thereby becoming the SECOND person I know who has a strong enough
phobia of things like spiders and scorpions to ruin her enjoyment of DS. One
of the downsides of doing a concert in the middle of the blanking desert. :-\

--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com

Nick Rothwell said:
>> He keeps calling me Matt.
>
> Professor Matt Metlay... Wasn't he in Fireball XL5?

[SFX: Sound of forehead pounding desk]

--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com

Why do you and Matt Davidson keep getting mixed up in my head?

Anyway, sorry Nick.

--D



On 8/1/05, Mike Metlay <metlay@...> wrote:
>  Dave Lovelace said:
>  > I don't know where I'm going with this except to say I'm very excited
>  > to have actually been tapped for 2005 after tarrying at the end of a
>  > pretty long waiting list.  I'm glad it actually panned out for this
>  > year and am looking forward to meeting everyone in September!
>  >
>  > Road trip!  CT to CO in two days?  In a Camaro full of keyboards?
>  > Sure!  Thanks be to Matt (and God) for driving me the rest of the way
>  > though!  :o)
>
>  He keeps calling me Matt. WHY does he keep calling me Matt? If this keeps
> up,
>  Otso and Nick and I will have to strap him to the luggage rack on top of
> the
>  van, the better to enjoy the scenery...
>
>  mike
>
>
>  --
>  I would argue that people don't buy Moog modulars to coax new things from
>  them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
>  > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
>  metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com
>
>
>
>
>  SPONSORED LINKS
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>  Electronic music
>
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>
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>
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>

>> Professor Matt Metlay... Wasn't he in Fireball XL5?

> [SFX: Sound of forehead pounding desk]

Hold still: I want to sample that.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

Nick Rothwell wrote:

> > He keeps calling me Matt.
> Professor Matt Metlay... Wasn't he in Fireball XL5?

Wow!  Someone besides me who remembers that show... not the details, but
I remember watching it religiously!

Cheers,

Bill

> Wow!  Someone besides me who remembers that show...

It was a little before my time; I really came on-board with the
Anderson stuff with Thunderbirds, so I guess that would be around
1965.

At the moment we're getting daytime runs of the new, all-CGI Captain
Scarlet. The stories appear to be a bit blah but the visual design is
quite stunning. (Produced by Ron "Babylon 5" Thornton, it says here,
and anyone who creates the design for an evil race's sentient
starships by texture-mapping his dog's nose has to be cool in my book.)

	 -- N.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

For those of you who follow such things, here is the finalized artist roster
for the Different Skies 2005 electronic and experimental space music festival:

Jim Combs (TouchXtone)
John DuVal (solo/Dweller At The Threshold/mindSpiral)
Russell Foster (Una Voce)
Bill Fox (Xeroid Entity)
Dave Fulton (solo/Dweller At The Threshold)
Tony Gerber (solo/SPACECRAFT)
John Goff (SSI)
Brian Good (Sundagger)
Jeff Kunzelman (solo artist)
Dave Lovelace (Parallax)
Mike Metlay (solo/Team Metlay/mindSpiral)
Howard Moscovitz (Xeroid Entity)
Paul Nagle (solo/Binar/Joint Intelligence Committee)
Otso Pakarinen (Ozone Player)
Giles Reaves (solo/Spacecraft/mindSpiral)
Nick Rothwell (CASSIEL/Team Metlay)
Paul Vnuk Jr. (solo/Ma Ja Le)
Tim Walters (Shalmaneser/Slaw/Circular Firing Squad)
Greg Waltzer (solo/Mutation Vector/Xeroid Entity)
Doug Wellington (solo artist)

The incredible visuals will once again be provided by David Tristram of
Tristram Visual, and audio support will be handled by ace audio engineer Bill
Stunt. As was the case last year, most or all of the event's music will be
composed during the festival week and performed by small and large subgroups
of artists on the roster.

Different Skies will take place the week of September 12-18, 2005, at
Arcosanti in central Arizona. As always, the public will be welcome to a live
show finishing off the week on Saturday night September 17th, with a gourmet
meal as part of the ticket price.

We'll have some more announcements about DS soon, including the availability
of recorded music and more from last year's show.

For more information:
http://www.differentskies.com
http://www.arcosanti.org

Thanks for your attention, and we hope to see some of you at Different Skies
2005!

mike

--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com

I'm actually known as Alpha60 in some circles. I'm working on an updated bio.



On Mon, 1 Aug 2005 17:00:16 -0600 (MDT), Mike Metlay wrote
> For those of you who follow such things, here is the finalized
> artist roster for the Different Skies 2005 electronic and
> experimental space music festival:
>
> Jim Combs (TouchXtone)
> John DuVal (solo/Dweller At The Threshold/mindSpiral)
> Russell Foster (Una Voce)
> Bill Fox (Xeroid Entity)
> Dave Fulton (solo/Dweller At The Threshold)
> Tony Gerber (solo/SPACECRAFT)
> John Goff (SSI)
> Brian Good (Sundagger)
> Jeff Kunzelman (Alpha60)
> Dave Lovelace (Parallax)
> Mike Metlay (solo/Team Metlay/mindSpiral)
> Howard Moscovitz (Xeroid Entity)
> Paul Nagle (solo/Binar/Joint Intelligence Committee)
> Otso Pakarinen (Ozone Player)
> Giles Reaves (solo/Spacecraft/mindSpiral)
> Nick Rothwell (CASSIEL/Team Metlay)
> Paul Vnuk Jr. (solo/Ma Ja Le)
> Tim Walters (Shalmaneser/Slaw/Circular Firing Squad)
> Greg Waltzer (solo/Mutation Vector/Xeroid Entity)
> Doug Wellington (solo artist)
>
> The incredible visuals will once again be provided by David Tristram
> of Tristram Visual, and audio support will be handled by ace audio
> engineer Bill Stunt. As was the case last year, most or all of the
> event's music will be composed during the festival week and
> performed by small and large subgroups of artists on the roster.
>
> Different Skies will take place the week of September 12-18, 2005, at
> Arcosanti in central Arizona. As always, the public will be welcome
> to a live show finishing off the week on Saturday night September
> 17th, with a gourmet meal as part of the ticket price.
>
> We'll have some more announcements about DS soon, including the availability
> of recorded music and more from last year's show.
>
> For more information:
> http://www.differentskies.com
> http://www.arcosanti.org
>
> Thanks for your attention, and we hope to see some of you at
> Different Skies 2005!
>
> mike
>
> --
> I would argue that people don't buy Moog modulars to coax new things
> from them. But perhaps I'm just not hearing the "new things"
> correctly.(nagle)
> > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
> metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com
>
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--
Open WebMail Project (http://openwebmail.org)

At last!  The full Xeroid makes DS!
Congratulations Howard!

JEM


[Non-text portions of this message have been removed]

Welcome Dave! I can hardly wait to see what Packrat makes of Different
Skies!

I actually think CNET bought some if not all of the MP3 assets and folded it
into the new Download.com. It was MP3.comıs downfall that forced me to do my
own website.

Speaking of the DS website, please copy your bios and website updates,
photos, suggestions, etc to me moving forward. The new site is built using a
quasi-CMS. Iıve incorporated all the info off various versionıs of DS sites
with the exception of photos (a big job that will occur over time) and have
the latest bio information but will need Daveıs. Once you see the new site,
keep in mind it is a work in progress and is only intended to be a starting
point. Iıll be looking for visual help or a styleguide at some point in the
future, but for now, letıs just get the basic info right and a way to
navigate around it.

Iıll also be looking for browser testing from everyone. So, if things donıt
look right, let me know (a screen grab would be helpful).

Thanks!

-Jim
  www.touchxtone.com




[Non-text portions of this message have been removed]

Tim

Here's a revised and updated bio. Or at least a series of facts for
an eventual bio!

For DS2005:
This year I'll be focusing primarily on software-rendered textures &
rhythms, and secondarily on guitar soundscaping/looping(ala Fripp).
Will NOT be bringing the big rack of digital drums NOR the big 3-tier
keyboard stand. But I will still have my Roland Octapad onhand for
emergencies and so forth. And I'll likely feature my handmade
didgeridoo for a moment or two. In addition, I'll have some regular
hand percussion objects for various contributions where applicable.

Here's an actual bio of sorts. Feel free to edit as needed:

"Una Voce's interest in ambient electronic music was first piqued by
listening to a weekly radio program devoted to Space Music, as it was
then known. This coincided nicely with the abundant synth-based film
music created in the early 80's, using many of the same instruments
heard on that fateful weekly radio program. Almost every movie at the
time, for better or worse, featured some sort of synthesized music in
their soundtracks. And their influence was hard to escape."

Instrument chronology:
"Began playing drums July 4, 1976 at a neighbor's Bicentennial party,
whereby the drummer of the band lent his sticks to an excited little
kid during a break. A few years later, a highschool bandmate left his
guitar behind following a band rehearsal. He granted permission to
plug it in and explore, and soon a second major instrument had been
added to a growing collection of musical study. This again coincided
nicely with current trends at the time, as the hyper-classical wave
of electric guitar was just in its infancy and gaining popularity.
Then in the early 90's, computers were finally bridging the gap
between the imaginable and the possible. And soon, home recording
took on a whole new dimension as software entered the picture. As a
result, various synths and digital workstations were added to the
palette to accomodate these new technical advances.
Now, a circle of influences and abilities coalesce into sybiotic form
as modern audio hardware sublimely coexists with more primitive earth-
based instruments. Subtly complex rhythms merge smoothly with dense
cinematic soundscapes and evolving texures, allowing the imaginable
to be possible. And then some."


I know this is mostly gratuitous and a bit self-serving...but no one
else is doing my publicity, so I might as well :)  Hope this message
helps you and Doug both, although I do apologize for its late arrival.


Rus/Una



> --- In differentskies@yahoogroups.com, Mike Metlay ++ Atomic City
<metlay@a...>
> wrote:
> > Gang, Tim is doing the programs again for this year, so do take a
> > moment to look at the site and make tweaks. I will probably go in
and
> > remove last year's jokes and replace them with new ones (or
nothing
> > at all).

Hey Mike

How structured can a given piece really be? Or maybe that is to say,
how developed can a given piece be? I have something I've been
messing around with for my own local live performances, but it's up
for grabs for the DS05 show. It's almost completely ambient and non-
rhythmic, like a literal film soundtrack. And I go even further by
adding some poignant audio lifted from Bladerunner, namely the
conversation between the doctor and Rutger Hauer regarding mortality,
etc. Don't know how serious a copyright infraction that would really
be in our case, but it has a running time of about 7 minutes, which
of course could be edited for length because it's ambient after all!
I haven't filled in all the audio holes, so there's still lots of
space left to fill . Otherwise, I have the usual polyrhythmic
percussion ideas that usually drive most people mad ;)

Also, I can make usable music charts from audio cues. I can't easily
read regular sheetmusic, but I'm a whiz at tablature! Absent tab,
though, I can make my own tab as long as I'm given the outline in
verbal form first. Or you can give me a few relevant keys to work
within, and I can take a number of small themes and expand on them as
I go along. I'm usually pretty good at learning on the fly....on
guitar and drums both. In fact, I'm currently trying to match synth
arp rhythms with my guitar....but in realtime without delays. Like
(dare I say?) League of Crafty Guitarists meets Tangerine Dream,
perhaps. It's pretty demanding, and I might have to resort to short
delays after all, but the overall effect is still pretty cool. And it
could be something different amid the cloud of regular synthy-
sounding arps.


Hope this helps.


Rus/Una


--- In differentskies@yahoogroups.com, "Mike Metlay" <metlay@a...>
wrote:

> I think that will be true regardless of the format of the final
concert, but I
> think that unless we see a lot more compositional/organizational
activity in
> the next six weeks than we have already, it will be in everyone's
best
> interest to keep it loose, as anything too tight will strangle us.
>
> I would be content if everyone came to the show with one or two
easily taught
> ideas of some sort or another... either structural concepts like
the neat
> ideas Otso put out several weeks back, or even just a simple chord
chart. If
> John Duval and Giles Reaves don't mind, I'm going to suggest a DS
rework of a
> couple of the numbers they and I did with Darwin at the mindSpiral
concert
> last April; either "Swerve", which is a particularly uptempo piece
that would
> do well with Tim's algorithmic datasurge underneath and all of the
Daves
> taking turns soloing over the top (Lovelace, Fulton, AND Tristram),
or
> "Ecliptic", which would make a good finale.
>
> Folks who are good at quickly assembling and reading simple chord
charts will
> be in demand for that sort of thing, while the more soundscapy
folks will have
> lots of room for transitional material and "spaces to breathe".
Should be room
> for everyone, I hope.
>
> mike
>

finaly settled on a configuration.
small keyboard stand. Six space rack bag which houses a power strip, Lexi MPX-1,
Alesis Nanoverb.
Line6 POD2.0 (yuk), MillenniaMedia TD-1, Avalon U-5
Yamaha Boomerang Phrase Sampler ( what ever the hell that is)
Line6 DL-4 , volumn pedal
Parker six string
4 or 5 string bass, not sure which and of course, too many patch cords.
    I'm sure that's more than i  need and will probably get into more trouble
than i'm worth, but that's what it is.  Very small footprint indeed. I won't be
taking up much stage space, and it's fairly portable. Considered going wireless
but even the mid priced systems have a tendency to broadcast and spread the news
at the least appropriate moments. I can just see it. The big show on Sat. night
and everyone gets an ear full of the guitar player and the nearest CB trucker!
Can Ya'll hear me NOW!!!!!   hahahahah
I'm not into the overdriven smashed down guitar sounds that have been the norm
for the last thirty years. I like to hear the sound of the  guitar itself as
opposed to the sound of smashing,twisting square waves.  : ) . . . . . hmmmmm. .
. . theres a great song title!!
john duval






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[Non-text portions of this message have been removed]

Jim Combs wrote:

> Iıll also be looking for browser testing from everyone. So, if things
> donıt
> look right, let me know (a screen grab would be helpful).
> Thanks!
> -Jim
> www.touchxtone.com
> [Non-text portions of this message have been removed]

I use Mozilla's Firefox.  Some sites that look funny require that I use
Outlook Express (yech) in order to see things as intended.  I'll be
happy to pick a few nits whenever you're ready for people to start
kicking the tires.

Cheers,

Bill

Rus Foster wrote:

> Don't know how serious a copyright infraction that would really
> be in our case, but it has a running time of about 7 minutes,

Unfortunately, a fraction of a second is considered a big infraction in
the legal world.  Seven minutes?  The lawyers would have a field day
with us!

Cheers,

Bill

Rus Foster wrote:

> I can't easily
> read regular sheetmusic, but I'm a whiz at tablature!

I never understood why anyone would learn tablature as their only method
of notation.  If a guitarist only knows tab, that's great for passing
ideas around amoung other guitarists.  If they never have to communicate
musical ideas with any other type of instrumentalist, then that's fine,
However, they can't easily trade those ideas with other musicians.  Why
would a wind or brass player learn tab?  Std. notation is far more
universal than tab.

In the first grade, I asked for piano lessons.  No dice.  It took until
I was in the fourth grade before my father finally gave in and bought a
guitar.  To this day, my reading skills are great for single lines.  I'm
a sax player and have been playing in a concert band since the sixth
grade with only one eight year gap during college and the start of my
professional career.  But reading piano music is slow going for me
because of all the vertical structures.  As a guitarist, chord charts
are the fastest way to get ideas across for me.  I like filling in the
details on my own...

Cheers,

Bill

Bill

You're half right. The entire piece is about 7 minutes in length. The
actual audio in question(sample) is only about a minute.

Rus



--- In differentskies@yahoogroups.com, Bill Fox <billyfox@s...> wrote:
> Rus Foster wrote:
>
> > Don't know how serious a copyright infraction that would really
> > be in our case, but it has a running time of about 7 minutes,
>
> Unfortunately, a fraction of a second is considered a big infraction
in
> the legal world.  Seven minutes?  The lawyers would have a field day
> with us!
>
> Cheers,
>
> Bill

Bill

You're exactly right. Fortunately, all I've ever had to pass ideas
around to were other guitarists! Guitarists who ALSO read tab. I
learned our entire King Crimson repertoire by virtue of tab. So did
our second guitarist. I've figured out complex solos by virtue of
tab. Sheet music gives you specific notes, but no suggestion as to
where the most economical playing position(s) might be. Tablature
goes that extra step by suggesting certain fingering positions that
would make the execution more fluid and effective. Hopefully this
will sweeten your sour note regarding music reading preferences.


Rus

--- In differentskies@yahoogroups.com, Bill Fox <billyfox@s...> wrote:
> Rus Foster wrote:
>
> > I can't easily
> > read regular sheetmusic, but I'm a whiz at tablature!
>
> I never understood why anyone would learn tablature as their only
method
> of notation.  If a guitarist only knows tab, that's great for
passing
> ideas around amoung other guitarists.  If they never have to
communicate
> musical ideas with any other type of instrumentalist, then that's
fine,
> However, they can't easily trade those ideas with other musicians.
Why
> would a wind or brass player learn tab?  Std. notation is far more
> universal than tab.
>
> In the first grade, I asked for piano lessons.  No dice.  It took
until
> I was in the fourth grade before my father finally gave in and
bought a
> guitar.  To this day, my reading skills are great for single
lines.  I'm
> a sax player and have been playing in a concert band since the
sixth
> grade with only one eight year gap during college and the start of
my
> professional career.  But reading piano music is slow going for me
> because of all the vertical structures.  As a guitarist, chord
charts
> are the fastest way to get ideas across for me.  I like filling in
the
> details on my own...
>
> Cheers,
>
> Bill

Rus wrote:

>Sheet music gives you specific notes, but no suggestion as to
>where the most economical playing position(s) might be. Tablature
>goes that extra step by suggesting certain fingering positions that
>would make the execution more fluid and effective.

I agree with Rus. I prefer to use both when learning tunes (if I can get
both), along with the recording. Seeing and hearing the notes seems to
help me the most.

Now during my keyboard lessons, I did see that fingerings were often
included in the standard notation, which helped immensely. Not sure if
this is only used in lesson books, rather than "real" scores, though.

Phil

well i guess this means i'm going to be joining the "tab only" outcast group. My
standard notation skills are poor at best although i can read a chord chart.
Playing country music for ten years just did a total number on my head in that
now my favorite form of reading is the Nashville numbering system. It's quik,
easy and even dummies like me can read it.
It would be a shame if this gathering degenerates into readers and non readers
as a form of musical one upmanship and social acceptance.
I can't read standard for squat. Sorry.
kind regards
john duval

-------------- Original message --------------
Rus Foster wrote:

> I can't easily
> read regular sheetmusic, but I'm a whiz at tablature!

I never understood why anyone would learn tablature as their only method
of notation.  If a guitarist only knows tab, that's great for passing
ideas around amoung other guitarists.  If they never have to communicate
musical ideas with any other type of instrumentalist, then that's fine,
However, they can't easily trade those ideas with other musicians.  Why
would a wind or brass player learn tab?  Std. notation is far more
universal than tab.

In the first grade, I asked for piano lessons.  No dice.  It took until
I was in the fourth grade before my father finally gave in and bought a
guitar.  To this day, my reading skills are great for single lines.  I'm
a sax player and have been playing in a concert band since the sixth
grade with only one eight year gap during college and the start of my
professional career.  But reading piano music is slow going for me
because of all the vertical structures.  As a guitarist, chord charts
are the fastest way to get ideas across for me.  I like filling in the
details on my own...

Cheers,

Bill



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[Non-text portions of this message have been removed]

> It would be a shame if this gathering degenerates into readers and
> non readers as a form of musical one upmanship and social
> acceptance.

Reminds me of a story... I've got friends who are/used to be in Piano
Circus, which is a high-profile contemporary music ensemble who
perform stuff like Fitkin, Nancarrow and Reich on the trendy festival
circuit. They also do various kinds of outreach and educational
projects. One afternoon many years ago they taught an introductory
music class in some school, using their fleet of digital pianos,
putting little coloured stickers onto the keys to denote middle C,
concert A, and so on, with note names scribbled on in biro. That
evening they had a concert premiere and some kind of
serious-music-critic press party in the concert hall afterwards. Only
once that was over did they realise that they'd left the stickers on
the keys.

	 -- N.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

At 16:20 02/08/2005, you wrote:
> > It would be a shame if this gathering degenerates into readers and
> > non readers as a form of musical one upmanship and social
> > acceptance.
>
>Reminds me of a story... I've got friends who are/used to be in Piano
>Circus, which is a high-profile contemporary music ensemble who
>perform stuff like Fitkin, Nancarrow and Reich on the trendy festival
>circuit. They also do various kinds of outreach and educational
>projects. One afternoon many years ago they taught an introductory
>music class in some school, using their fleet of digital pianos,
>putting little coloured stickers onto the keys to denote middle C,
>concert A, and so on, with note names scribbled on in biro. That
>evening they had a concert premiere and some kind of
>serious-music-critic press party in the concert hall afterwards. Only
>once that was over did they realise that they'd left the stickers on
>the keys.

'Give me an A...'

It turns out to be *much* easier to sight read piano if you colour code the
notes on the staff. I know someone who teaches like this using special
print-outs from Logic, and he says it gets pupils up to speed far more
quickly than anything else he's tried.

Tangentially - I've seen Piano Circus in action, and their sight reading
skills are very impressive indeed. With or without stickers. :)

I'm agnostic about tab. I've used it occasionally for dulcimer and it is
indeed quicker, but I prefer to read notation when I can. It's more
difficult, but I find it gives more of a sense of how is put together than
tab does, and sometimes that can be useful.

Richard

I just jot down the control voltage will that be a problem for anyone?



On Aug 2, 2005, at 7:23 AM, Rus Foster wrote:

> Bill
>
> You're exactly right. Fortunately, all I've ever had to pass ideas
> around to were other guitarists! Guitarists who ALSO read tab. I
> learned our entire King Crimson repertoire by virtue of tab. So did
> our second guitarist. I've figured out complex solos by virtue of
> tab. Sheet music gives you specific notes, but no suggestion as to
> where the most economical playing position(s) might be. Tablature
> goes that extra step by suggesting certain fingering positions that
> would make the execution more fluid and effective. Hopefully this
> will sweeten your sour note regarding music reading preferences.
>
>
> Rus
>
> --- In differentskies@yahoogroups.com, Bill Fox <billyfox@s...> wrote:
>
>> Rus Foster wrote:
>>
>>
>>> I can't easily
>>> read regular sheetmusic, but I'm a whiz at tablature!
>>>
>>
>> I never understood why anyone would learn tablature as their only
>>
> method
>
>> of notation.  If a guitarist only knows tab, that's great for
>>
> passing
>
>> ideas around amoung other guitarists.  If they never have to
>>
> communicate
>
>> musical ideas with any other type of instrumentalist, then that's
>>
> fine,
>
>> However, they can't easily trade those ideas with other musicians.
>>
> Why
>
>> would a wind or brass player learn tab?  Std. notation is far more
>> universal than tab.
>>
>> In the first grade, I asked for piano lessons.  No dice.  It took
>>
> until
>
>> I was in the fourth grade before my father finally gave in and
>>
> bought a
>
>> guitar.  To this day, my reading skills are great for single
>>
> lines.  I'm
>
>> a sax player and have been playing in a concert band since the
>>
> sixth
>
>> grade with only one eight year gap during college and the start of
>>
> my
>
>> professional career.  But reading piano music is slow going for me
>> because of all the vertical structures.  As a guitarist, chord
>>
> charts
>
>> are the fastest way to get ideas across for me.  I like filling in
>>
> the
>
>> details on my own...
>>
>> Cheers,
>>
>> Bill
>>
>
>
>
>
>
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Nick wrote:

>Reminds me of a story... Only
>once that was over did they realise that they'd left the stickers on
>the keys.

This reminds me of one as well. When I was just starting out in my first
high school rock band (don't ask...) we of course made the rounds to
check out other bands at various dances. The "hang around the bandstand"
syndrome...

Anyway, one night we saw the keyboard player had taped the keys on his
Farfisa with various note names, and the two players in my band got a
good laugh at this. Years later I met this keyboard player at another gig
and told him what I'd seen back then. He got very red faced and told me
he'd just gotten started playing back then.

Also, there were stories that when Paul McCartney and Wings were first on
tour, with his wife Linda on keys, he often had to go back to her
keyboard and show her what notes and chords to play.

Phil

> I just jot down the control voltage will that be a problem for anyone?

I thought *true* analogue-heads took polaroid photos of the front panels.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

> It turns out to be *much* easier to sight read piano if you colour code the
> notes on the staff.

That would completely wreck my synaesthesia...

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

Jim, thanks for the hard work. I am not sure when the site will go live; I
completely forgot that Doug was going on vacation and actually caught him too
late to get the domain name transfer started. He promised to try to get to a
computer and do the transfer sometime while he's on the road (access to
GoDaddy is easy enough if you remember your password and account number), but
I don't know when that will happen.

Once we go live, I will start populating the site (with Jim's help) with audio
clips. The tracks approved by various artists for the original DS2003
promotional sampler will all go up there, and I may snag stuff from other
artists, add fadeins and fadeouts, and throw it up on the site as well. Most
of the guys that I have material for have pressed it themselves or released it
on a pretty small label, but if anyone has any legal impediment to my
distributing audio clips up to but not exceeding 5 minutes in length, please
let me know as soon as possible.

Once we have that stuff in place, I plan to start up that "guess the artist"
page as well, that I'd talked about earlier. If we post a new track every week
we can get people coming back pretty regularly, I hope.

mike

Jim Combs said:
>
> Speaking of the DS website, please copy your bios and website updates,
> photos, suggestions, etc to me moving forward. The new site is built using a
> quasi-CMS. Iıve incorporated all the info off various versionıs of DS sites
> with the exception of photos (a big job that will occur over time) and have
> the latest bio information but will need Daveıs. Once you see the new site,
> keep in mind it is a work in progress and is only intended to be a starting
> point. Iıll be looking for visual help or a styleguide at some point in the
> future, but for now, letıs just get the basic info right and a way to
> navigate around it.
>
> Iıll also be looking for browser testing from everyone. So, if things donıt
> look right, let me know (a screen grab would be helpful).



--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com

darkstr1746@... said:
> finaly settled on a configuration.
> small keyboard stand. Six space rack bag which houses a power strip, Lexi
> MPX-1, Alesis Nanoverb.
> Line6 POD2.0 (yuk), MillenniaMedia TD-1, Avalon U-5
> Yamaha Boomerang Phrase Sampler ( what ever the hell that is)
> Line6 DL-4 , volumn pedal
> Parker six string
> 4 or 5 string bass, not sure which and of course, too many patch cords.

This all looks fine, John, but let me (or others) help you ease your train
trip a bit...

Remember that small keyboard stand you borrowed for the mindSpiral gig? It can
be yours again if you need it, I'll throw it in the van. That'll make life a
lot easier for you.

The Boomerang isn't made by Yamaha, and I believe Yamaha makes its own looper,
so I'm not sure what you're referring to.

We never had time in April for you to try some of the other modeling pedals I
had. Maybe for fun I'll toss them in the van (they're all tiny) and you can
try some out and see if anything tickles your ears better than the Pod.

mike

NP: John DuVal, "Smashing Twisting Square Waves"

--
I would argue that people don't buy Moog modulars to coax new things from
them. But perhaps I'm just not hearing the "new things" correctly.(nagle)
> < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < > < >
metlay / www.atomiccity.com / www.mindspiral.com / www.differentskies.com