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Sechs Kleine Klavierstücke (Mit BIAB EchtemTrack Slide Gitarrensolo)Call me experimental. But I would not offer this for your listening if I did not think it worthy. 5:18 is all I ask. (1) There is a set of Six Little Piano Pieces by Arnold Schoenberg, from 1911. These are very short atonal compositions, so-called "miniatures" less than a minute long each, ideal for my limited attention span. (2) There is a Disklavier recording of a performance of this set from 2004. (3) I asked BIAB to analyze this recording and create a band backing for it, with an electric slide guitar solo (LapSteel Solo AmericanaShuff 3690), then I deleted the band but kept and tweaked the solo.
Last edited by Mark Hayes; 02/15/22 05:31 PM.
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The slide really is a woah Nelly moment.
Sliding to and away from the precise notes of the piano part is juxtaposition that's weird in some cool ways.
I did find myself wanting a more Mick Ronson approach though. He was excellent at other worldly arranging and playing.
Some guitar genius may be spruiking the Unicornian Mode variations of the "solo" as I type.
What would Zappa say? I suspect he'd just plug in and play along.
The extract of Arnie's letter to Busoni does suggest a manifesto of unconscious writing with it's many inconsistencies and contradictions BUT the music is, not surprisingly, close to his description.
"That is not how man feels; it is impossible to feel only one emotion. Man has many feelings, thousands at a time, and these feelings add up no more than apples and pears add up. Each goes its own way. This multicoloured, polymorphic, illogical nature of our feelings, and their associations, a rush of blood, reactions in our senses, in our nerves;..."
Pretty cool stuff. In fact he's more than a little Hermann Hesse in text.
Last edited by rayc; 02/14/22 12:37 PM.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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Hi Mark, This is quite some experiment! Funny how you used Biab. The slide fits the Klavierstücke quite well. But not easy to listen to.  Rob and Anne-Marie
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Thank you RayC and RnAM!
Yikes, that's what I get for posting after midnight... There are parts in here that I really like, but this is a tough 5:18 listen even for me! A few more words about why I found it an interesting experiment:
This is a way to get BIAB to play a solo for a non-rhythmic performance.
Bear in mind, there is a "song" that exists only in a BIAB file, with a tight little band rocking this thing out in 4/4! The guitar was playing along with the chords implied by the piano and discerned by BIAB, but in the flat "C" meter imposed by BIAB. By dropping the backing band, I removed the time signature from the solo, and could reattach it to the original piano piece.
Ray, I do like that quote. William James-y, stream of consciousness. Regarding Zappa, his guitar playing could be great (“Watermelon in Easter Hay”!) but it often didn’t reflect the kind of musical genius he could express on paper, and sometimes, especially in concert, amounted to just recreational noodling, playing with the fingers. (I believe this was John McLaughlin’s snappy comeback when Zappa said his own playing was nothing but flashy speed tricks.)
PS – The Logic audio patch I used on the guitar is called “Yacht Rock”, so I was tempted to call this “Verklarte Yacht”.
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I love that Lap Steel sample. I've used it on a few projects, even though I own 3 or 4 Lap Guitars, and have played them for years, I just find Eddy Dunlap's realtrack's hard to beat.
The rest of this experiment is way over my head...
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I love that Lap Steel sample. I've used it on a few projects, even though I own 3 or 4 Lap Guitars, and have played them for years, I just find Eddy Dunlap's realtrack's hard to beat.
The rest of this experiment is way over my head... Or bad, the song could be bad! Not a huge fan myself, at this point; the guitar is way shrill, for one thing, and that's my fault, though perhaps I will try to fix it at some point. Of course, part of the advantage of using atonal music to play along with (so to speak) is that it's mighty hard to say when you get it wrong and when you get it right! Making this a terrible experiment, but hey. There ARE a few nice moments, when the guitar gets growly. Thanks for listening.
Last edited by Mark Hayes; 02/15/22 05:06 PM.
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Yes, truly experimental. You did it. Mission accomplished.
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My younger daughter came by and asked my to please wear headphones, because she said this was the "worst thing ever".
Which is clearly hyperbole.
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My younger daughter came by and asked my to please wear headphones, because she said this was the "worst thing ever". Hey, it worked for the early Alice Cooper group: We scared the hell out of these people. They were all on acid, we looked like we'd just come up out of the ground, and we didn't mind a little violence onstage. That audience couldn't get out of the room fast enough. It was like somebody yelled "FIRE!" There were three people left standing: Frank Zappa, my manager Shep Gordon and one of the GTO's. Frank said, "Anybody that can clear a room that quick, I've got to sign."
Last edited by Mark Hayes; 02/16/22 02:18 PM.
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Dear BIAB Showcase Forum, If you tried listening to this before but found it painfully shrill to the point where any musical value was lost: my bad not Arnie's and sorry about that, I fixed, I think, I hope: https://soundcloud.com/mark_hayes/sechskleineklavierstuckeI actually do like this myself so it is humanly possible even if that's a corner case. CONTENT RATING: Non-Linear Contemporary
Last edited by Mark Hayes; 03/16/22 04:46 PM.
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Mark,
You have a proclivity for dissonance.
moto
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You have a proclivity for dissonance. That I do. I guess it started as preadolescent rebellion but then stuck because my ears had been stretched (to use Charles Ives' father's metaphor) and I could take in really extreme stuff without flinching. Thanks for listening!
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I think this is an experiment into free jazz.
Listening to this with that in mind then it is a success.
Keep on experimenting.
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That sounded amazing! I don't know how you do it. Uniquely good. All 5:18 was worthy.
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That sounded amazing! I don't know how you do it. Uniquely good. All 5:18 was worthy. Thanks! I'm glad I came back to this, before my recent fix it was probably a candidate for worst of all time, but now I do think I've rehabilitated that slide guitar. *** David! Play it for your daughter again, please, I need a chance to redeem myself! ***
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I think this is an experiment into free jazz. Listening to this with that in mind then it is a success. Keep on experimenting. As one timbre-head to another, thanks. =8^)
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