Archive for May, 2017

Shadow of the Past

“Shadow of the Past” is another original composition in which I try to combine the feel of 60’s instrumental guitar rock with more a sophisticated musical and harmonic language than was typical for that style. This one is very much like the Shadows approach.

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May 31, 2017 at 6:22 am 1 comment

And Your Bird Can Sing

And Your Bird Can Sing” was written by John Lennon and credited to Lennon–McCartney.  McCartney stated that he helped on the lyrics and attributed the song “80–20” to Lennon. It was released on their 1966 album Revolver in the United Kingdom and on Yesterday and Today in the United States.

The song is remarkable for its extended dual-guitar melody, originally played by George Harrison and Paul McCartney. In many ways the interest of the original comes from the instrumental sections…thus making it a good candidate for an entirely instrumental arrangement.

May 29, 2017 at 5:46 pm Leave a comment

March of the Mushrooms

“March of the Mushrooms” is an original instrumental-guitar-rock track in the style of the Shadows. My wife and I have belonged to the Western Pa Mushroom Club for many years. It’s a very interesting hobby. The upside is that there are many incredibly delicious and edible wild mushrooms out there if you know what you are doing. The downside is that there are mushrooms that can kill you if you don’t know what you are doing.

Some of the species shown in the video are choice edibles. Others will either kill you or make you wish they would.

May 28, 2017 at 6:06 pm Leave a comment

Squaw Run

“Squaw Run” is an original instrumental guitar rock number based on the style of the Shadows. One of the interesting things about the Shadows is the number of “Native American” inspired tracks they recorded. Besides “Apache”, which they premiered, there is also “Geronimo”, “Peace Pipe”, and “Mustang”.

“Squaw Run” is the name of a creek near where I live.

May 27, 2017 at 2:06 pm Leave a comment

Funk Fugue

“Funk Fugue” is an original jazz/rock fusion composition.

It really is a traditional fugue with its form and construction based on J.S. Bach. It opens with a solo presentation of the fugue subject in the tonic key of G. This is followed by the subject in the dominant key of D, accompanied by a counter-subject. The exposition concludes with a return to the tonic, again with the counter subject.

A brief development section follows: a sequence built from the first half of the fugue subject & counter subject.

The next appearance of the fugue subject (again with counter subject) is in the relative minor (Em), followed by another sequence built from the first half of the fugue subject & counter subject, this time starting in the subdominant minor.

The next section begins in the dominant key of D, and the fugue subject appears (without counter subject). Halfway through, the fugue subject appears in another voice, forming a “stretto” — or overlapping of the fugue subject with itself. This continues for two more statements of the fugue subject.

Another development section follows: again a sequence built from the first half of the fugue subject & counter subject.

The fugue concludes with a statement of the subject — with counter subject — in the tonic.

May 25, 2017 at 6:37 pm 1 comment

Blues Mantra

“Blues Mantra” is an original jazz/rock fusion tune. A few years ago, jazz/rock fusion was the genre where I spent almost all of my time. My surf-rock & oldies projects kind of took over more recently. Today, the urge to revisit the jazz/rock thing was very strong. Never one to ignore such urges, this composition and recording emerged in just a couple of hours.

It’s basically a fairly traditional minor key 12-bar blues, but this might not be apparent at first given the feel and some of the harmonic extensions.

 

May 24, 2017 at 6:22 pm Leave a comment

I Feel Fine

I Feel Fine” was written by John Lennon (credited to Lennon–McCartney) and released in 1964 by the Beatles as the A-side of their eighth British single. The B-side was “She’s a Woman”.

The single reached the top of the British charts in December 1964 and topped the US Billboard Hot 100 charts for three weeks in late 1964/early 1965.

My version has the same basic feel as the original with a few changes in different sections to add the necessary variety to support an instrumental approach. Perhaps the most major change I made was to play the song’s signature riff on a baritone guitar, down an octave from the original.

May 23, 2017 at 5:31 pm Leave a comment

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