303: Rhythms in Odd Time (Complete Guitar Workout)

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The Trickfinger LP was made in that mindset, and it was the beginning of a new musical life for me. When I hear it, it sounds like I am opening up doorways to new worlds, and I never have had that feeling listening to music I made for the purpose of releasing it and selling it. All the music was recorded live onto a CD burner, through a cheap mixer. John would sit on a chair, in his living room, surrounded by five to 15 machines, and just keep programming and jamming until the track was ready to be recorded.

There were no overdubs — recorded all live. Acid Test unearthed these recordings and John agreed to a release. Trickfinger II is the second part to the recordings made during the winter of The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Here, Auvinen sculpts his into near-pizzicato form. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. It consists of 4 electronic pieces of music recorded in This was the period when I started recording my machines and synths onto a computer, using the program Renoise.

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There is no stylistic genre which this music fits into. I was just pushing my machines really hard, and constantly trying things which I had never done before. I would just describe it as adventurous electronic music. Throughout this time, I was also making a great deal of music with Speed Dealer Moms, and those experiences definitely informed my experimental approach.

But musically, it is my approach to synthesis, my sense of melody, and my sense of rhythm, which give this music its style, whatever one wishes to call it. The EP opens with a song called Foregrow, and this is the only tune on which I sing. The lyrics concern a vivid pre-life memory, in which I was a section of outer space.

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I used a midi guitar to play a DX7 synthesizer, in order to make these kinds of falling and whooshing sounds, by bending strings in a way that a person could never use a mod wheel or pitch bender. The sound of the guitar itself was never recorded and is therefore inaudible. This song has a guitar solo, played through an Electro Harmonix Microsynthesizer.

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When the comes in, I use its internal synth, while also using its sequencer to play many different synthesizers, one after another in rapid succession, sometimes using just CV and Gate, and other times using a CV to midi converter. The 3rd track is Lowth Forgue, which, as I mentioned earlier, began as music I intended to play live for British ravers. This idea comes from groups like Genesis and Yes, who made long songs comprised of sections which were totally distinct from one another, by means of editing.

In the case of Lowth Forgue, there are 4 sections in a row which have nothing in common with one another, except that they share the same tempo and flow nicely from one to the next. This track has no guitar at all. However, it does have sampling, which all of the other songs lack. It contains a guitar solo which is heavily treated by a modular synthesizer which my friend and bandmate Chris McDonald built for me. I think of this EP as fun music that was fun to make. Overdubbing, in electronic music, was a pretty new thing for me at that time, and much of this music was developed live i.

This gave me the ability to be way fancier with my production than I was on the Trickfinger Acid House stuff, when I had only machines, synths, a small mixer, and a CD burner. This EP was the beginning of the studio setup I have continued to use, refine, and develop ever since. Here are four pictures of it, taken a couple of years ago.

The cover of the EP is a sculpture conceived by Marcia Pinna.

How To Write Riffs & Solos In An Odd Meter (Odd Time Signature)

A day later, the whole thing came tumbling down and shattered into a million pieces. The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. The Diamond Lanes in question can be used when you have a passenger in the car. The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template.

For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me.

I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other. Requests for MUS projects must be received by the end of the year preceding graduation. Students are strongly advised to continue their study of voice or an instrument through studio lessons and ensembles. Seventy-six credits which must include: MUS, , , , , , , , , , , , , , , Seven credits of Ensembles, one of which must be MUS, , or Fourteen credits of Applied Lessons at the level and above on one instrument or voice, subject to Department approval.

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Students with an instrumental emphasis must complete MUS, , , and either MUS or one term of a vocal ensemble. All candidates must complete MUS piano proficiency by the end of the fall term of the junior year. These courses are necessary to complete a secondary education major. Eighty-eight credits which must include: MUS, , , , , , , , , , , , , Eight credits of Ensembles, one of which must be MUS or Twenty-eight credits of Applied Lessons at the level and above on one instrument or voice. Eleven credits of elective coursework subject to Department approval.

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    Study of the structure and use of intervals and chords in a basic harmonic vocabulary including diatonic triads and their inversions in major and minor keys, functional tonal principles, harmonic cadences, embellishing tones, principles of harmonization, part-writing chords, melodic relationships and periodicity, and dominant seventh chords. Offered every year. Continuation of MUS Study of non-dominant seventh chords, secondary functions, modulation, form and dramatic shapes including binary, rounded binary, ternary, fugue, and variation.

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