Easily the best channel on UA-cam, simple easy-to-watch editing, and knowledge/ability in music that far extends beyond most UA-camrs, really ascends the platform.
coming from contemporary music we'll be super fast to think "yeah ok brian ferneyhough but simpler. next!", but you're attentive enough to bring in the blues guitar (from what one could call an informal musical context). complexity is everywhere if we're good listeners. great analysis!
Very intetesting, thanks for going deep into that. Steve Vai 's So Happy and the next track sung and played by Tommy Mars are two different approachs of synchronised vocal + instruments, ... So funny, so beautiful. A masterpiece, imo. Thanks for sharing your expertise.
Bro, you are just incredible. Thank you for doing this kind of specialized work. I really love and respect what you do, especially when you dive into Zappa.
Zappa in interviews often mentioned two songs by the two guitarists shown near the end of the video: Guitar Slim's Story of My Life and Johnny Guitar Watson's 3 Hours Past Midnight, both of which exhibit the rhythmic complexity spoken of in this podcast. Once again the superb informative investigation!
Thank you for this drill-down! Encore. Frank's nested rhythms are delightful to my ear, but precise transcription has been almost impenetrable for me. Cheers.
This was fascinating, thank you. As a long-time Zappa fan, and also Steve Vai, and having read and heard them talking about it, you presented it in a very accessible and illuminating form. Strange thing is, the more you explained it, and the more you talked, I realise I began to hear the rhythm and melody of your voice, as much as I heard the words. Clearly got my brain working there!
I still own the first edition of the Frank Zappa Guitar Book, transcribed by Steve Vai. And I am still impressed how Vai wrote down all those tiny little details from the recordings. Vai is amazing! (Even Zappa himself seemed to be pleased)
This is without doubt the single most interesting series of videos that I have ever watched and listened to on youtube, absolutely fascinating, lucid and brilliantly presented pieces of work. I am a lifelong Zappa fan and while most of what you delve into is way above my understanding, I have been completely riveted, thank you, I shall watch these again many times, magnificent work, bravo !
This is excellent stuff Mr Chanan. Those scores you have look well studied :) Something that blew me away was, when Mike Kennealy played Dangerous Kitchen on the Zappa's Universe concert in the 90's he had learned it by ear from the record (as he doesn't read music) which is incredible enough but double as Mike also sings it!!!
I really love this channel! It’s bewildering because I am not musically trained beyond strumming a guitar. I can sort of understand whilst you are talking but easily lose the thread! A bit like how I listen to Zappa’s music!
Jeez man, no wonder Vai was singing your praises at the end of your interview with him. This is incredible. TBH, it's a bit over my head, but I still found it really interesting. thx
This kind of musical transcription must take years off your life. I'm glad you're doing it instead of me. 👏👏 Not that I could (although I did record drums for Arthur Barrow that had a lot of artificial groupings).
Wow, I am a drummer and I love your channel. Your analyses go far beyond what would be expected from a "guitar channel" and enlighten me on such diverse aspects of music. Besides, I share your admiration for Zappa and watch every video you upload about his music. Thank you so much and please keep it up!
3:26 - playing over speaking reminds me of mononeon who would play over sooo many random videos of people speaking. was really mind opening for me a few years ago when i discovered that style. 4:50 - choosing george carlin as an example is beyond fantastic. im gonna just enjoy the rest of the video now.
Maaann! I just want to invite you some beers and talk for hours, you know some pretty interesting things, thank you so much for these videos about Zappa and Vai and these songs that are not talked about much but are the best. I learned to speak English with these lyrics, they mean a lot to me❤
Great to see these pieces broken down and discussed in such fine detail. I had learnt and played both Jazz Discharge and The Dangerous kitchen completely and once all of the notation was in check I solely focused on the words as this was the only way I could memorise it all and your approach and explanation in this video is just amazing. How Steve Vai managed to transcribe Frank's work is still beyond me! Anyway, this is the first time I have commented on your channel and I must say, anytime I'm in the mood for the finest of details this is the place!!!
This is awesome..A PHD on Frank Zappa..that is the most coolest..your videos are a gift..thank you...just this morning after listening to Frank talk with Tipper ..I had an awakening moment and then watching this ...lol..I said Frank Zappa and George Carlin may have been the most important minds of our time..and then yes there he is George Carlin ..intresting how you have broken down the vocal/speech..I've heard of this but not to this level...Thank you again..please keep the work coming..it is important..
There's a lot of math involved in all of these (fractions, least common denominator, greatest common factor etc.), Vai elaborates on this topic in his official website, the lesson is titled 'Tempomental' ,a lot of people know Vai as a guitarist, but there's a deeper facet of him as a composer hugely influenced by Zappa
Yes, thoroughly enjoyed your video and analysis. For me you make the absurdity tangible and edible. Speach into music (or the recognition that human speech can be very musical) is a fantastic concept that has a great deal of infinity in its scope. Another fantastic example for me are the passages of overheard speech in Strawberry Fields. I thought that your examples were brilliant and funny. Thank you.
Fine video, thanks. A few examples of speech-singing would be "Different Trains" by Steve Reich, "Jesus Blood Never Failed Me Yet" by Gavin Bryars and from the other end of the musical spectrum "Philosophy Of The World" by The Shaggs. Incidentally, I think I'm right in saying that hearing The Shaggs for the first time was a direct inspiration on Zappa for "Jazz Discharge..." and "Dangerous Kitchen".
Only a couple weeks in as a subscriber, but really enjoy the originality and level of quality in your videos - far above my reach of putting to practice but really opens my parachute
I remember seeing that George Carlin performance not so long ago and being astounded not only by the profundities of his discussions, but his musicality.
A qualification I would make is that the tempo doesn't necessarily have to be fixed. In today's music tempi sometimes change as often as every measure, not to mention ritards and accelerandi added within each tempo. Then there's also the option of metric modulation... I personally prefer transcribing using the simplest option available. When you get into nested brackets you are reaching a level of precision that can be both unhearable and unplayable, which is self-defeating. In certain cases it might just be easier to set the expression to "swing" or "rubato," and all these knotty brackets-within-brackets-within-brackets reduce to something quite simple on the page.
Great analysis and a lovely nerdy deep dive! I guess Frank did the easiest thing in this, he let the boys jam and the talked over it. It’s when Vai and you put it to paper it becomes ‘higher art’ I suppose.
Having a background in contemporary music I'd say it would be easier in the 5:4 with tuplets it you calculate which metronomic tempo would be the 5:4 and them just practice separately. These higher tuplets at the end are just a way for composers to modulate the metronome tempo without having to keep writing metronome changes.
Attracted to this so called instrudubs thanks to Brock Benzel (sorry spelling) and it's guitar dub of Steamed Hams. It's interesting that this thing is still there and that when we talk, we perceive musical notes so much that it's eazy to transcribe it, but complicated to do if you didn't get the notes properly but as a man said, repetition legitimizes.
Thank you. I usually use paper and pencil to transcribe, but for illustrative examples in my video I use Sibelius. I'll definitely be looking into doing a video on the transcribing process in the future.
I love you; I love your videos. You're cool and generous. Either, alone, would be rare enough. The deepest of thanks. P.S. A huge ask, but have you ever examined the music of Cecil Taylor?
You're very kind, many thanks indeed. I listened to Cecil Taylor while I was studying jazz, but that was many years ago. I might have to tap into that again. Best wishes!
Chanan Hanspal ... Really, really appreciate you, your skills and your sharing these wonderful videos with us. Mike Keneally does an incredible job live with Frank's speech tune on Zappas Universe. 🎵
Hey Chanan, a quick question regarding notation in the "Albequerque" line I was trying to recreate the line in notation software, and in musescore there's only really 2 ways you can do it. The first is to divide a half note in to 11 quarter notes resulting in an 11:2 ratio, but the note values themselves have to be multiplied by 4 in order to sound right. Alternatively if you want to get the note values to match up, you have to make the ratio 11:8. Practically both sound the same as the original, but I'm wondering what the convention is for this sort of thing. I understand in the original score you're showing, the context is that it's 11 divisions within the space of two quarter notes - but it seems like 11:2 can represent a few different things depending how you're conceptualizing it So are all 3 right? Is the notation software being too "literal" in terms of ratios? Was the original score a sort of shorthand because you can imply what's meant by seeing 11 and seeing the note values?
Hi, I'm not familiar with Musescore I'm afraid, I use Sibelius, which judging from your experience with Musescore seems a bit easier to manipulate. In Sibelius, it's a case of choosing tuplets and the note values, so you'd create 5:4 crotchets, then on each beat of the tuplet, you'd insert the nested tuplets, in this case, the 3 triplets and then the 11 semiquavers across the 2 crotchets at the end. Sibelius seems to share a similar nomenclature to Musescore, in the way it writes 11:8 instead of 11:2, this is the same for Sibelius. Vai has written 11:2 which is fine because it is essentially the same as 11:8 which seems to be the only way you can write that rhythm in Sibelius and as it seems in Musecore too. I don't think it matters really. (11:2) can mean different things only if we don't specify the note value, so we would usually specify that it is 11 quavers in the time of 8 or 11 demisemiquavers in the time of 8 which I think you already know. I hope this helps and that I've understood your query correctly.
@@ChananHanspal Yea it's the same process in Musescore as you're describing in Sibelius with creating 5:4 and then nesting tuplets I just didn't explain it well hahah. Seems like it's just an issue of notation software needing to be more "exact" vs. if you were to see the original score you'd understand the context, ie: we know it's 11 eighth notes in the space of two quarter notes in the original score but the software needs to have eighth notes against eighth notes in the ratio. Thanks for the response, and thanks for all the videos
Thank you Chanan for another wonderful video! I really liked the ”Moggio” but this warms my heart a little extra. Years ago I studied, learnt and memorized ”Theme from 3d Movement of Sinister Footwear”. Just like you discuss here, is one of Frank’s solos transcribed by Vai. I’ll put the link here and hopefully we can talk more about how to approach these kind of things. ua-cam.com/video/KKbQ40F0Sgk/v-deo.html
Hi, Thank you very much for your work! Zappa is also a constant source of inspiration for me! At my level I don't use such complex rhythms but when I listen to how Zappa manipulates this and embeds it in his wonderful melodies and harmonizations it really delights my ears! Regarding the subject of this video, do you know the excellent work of Frenchman Christophe Chassol (a Zappa fan too!). He makes films which he then re-harmonizes, such as: ua-cam.com/video/X0euvHEnSw8/v-deo.html Best regards
As kids we used to say 'zebra' over and over again until the words lost all meaning and you couldnt even remember how it was supposed to sound or if you were saying it right
I've hated Zappa's music ever since I first started hearing him way back in the 60s as a teenager. All these years later I still feel the same. I can't understand why so many people think he's so great. After you've heard this stuff once, why would you want to listen to it again? It's the most boring and stupid nonsense ever recorded.
Jazz Discharge Party Hats? A song about the group sniffing of the detritus inside of groupie underwear? This is the absolute nadir of sexist Zappa that was embarrassing when it first came out and is quite beyond on the pale now. Sprech Gesang was not invented by Frank or Steve. I also don’t care how hard it is to play. I very much enjoyed your video on Gary Numan however. A far superior artist in my opinion.
Easily the best channel on UA-cam, simple easy-to-watch editing, and knowledge/ability in music that far extends beyond most UA-camrs, really ascends the platform.
Thank you so much!
I can’t tell a Db from a flat tire but I absolutely LOVE these videos!
That really explained the dry "scat" type guitar solos I've heard in the more experimental jazz styles of the 50' and 60's!
Dude, you will be remembered 😃
coming from contemporary music we'll be super fast to think "yeah ok brian ferneyhough but simpler. next!", but you're attentive enough to bring in the blues guitar (from what one could call an informal musical context). complexity is everywhere if we're good listeners. great analysis!
Many thanks!
Very intetesting, thanks for going deep into that.
Steve Vai 's So Happy and the next track sung and played by Tommy Mars are two different approachs of synchronised vocal + instruments, ... So funny, so beautiful.
A masterpiece, imo.
Thanks for sharing your expertise.
Bro, you are just incredible. Thank you for doing this kind of specialized work. I really love and respect what you do, especially when you dive into Zappa.
You're welcome and thank you so much for watching.
Thanks a lot - The Dangerous Kitchen is one of my favourite!)
👍
Zappa in interviews often mentioned two songs by the two guitarists shown near the end of the video: Guitar Slim's Story of My Life and Johnny Guitar Watson's 3 Hours Past Midnight, both of which exhibit the rhythmic complexity spoken of in this podcast. Once again the superb informative investigation!
Thank you for this drill-down! Encore. Frank's nested rhythms are delightful to my ear, but precise transcription has been almost impenetrable for me. Cheers.
You're welcome and many thanks.
This was fascinating, thank you. As a long-time Zappa fan, and also Steve Vai, and having read and heard them talking about it, you presented it in a very accessible and illuminating form. Strange thing is, the more you explained it, and the more you talked, I realise I began to hear the rhythm and melody of your voice, as much as I heard the words. Clearly got my brain working there!
Many thanks!
Nice - thanks Chanan .
You're welcome and thanks for watching!
Your analyses of Zappa's music are so deep. It makes me appreciate the music even more, and also your craft as a musicologist!
I still own the first edition of the Frank Zappa Guitar Book, transcribed by Steve Vai. And I am still impressed how Vai wrote down all those tiny little details from the recordings. Vai is amazing! (Even Zappa himself seemed to be pleased)
This is without doubt the single most interesting series of videos that I have ever watched and listened to on youtube, absolutely fascinating, lucid and brilliantly presented pieces of work. I am a lifelong Zappa fan and while most of what you delve into is way above my understanding, I have been completely riveted, thank you, I shall watch these again many times, magnificent work, bravo !
This is excellent stuff Mr Chanan. Those scores you have look well studied :) Something that blew me away was, when Mike Kennealy played Dangerous Kitchen on the Zappa's Universe concert in the 90's he had learned it by ear from the record (as he doesn't read music) which is incredible enough but double as Mike also sings it!!!
👍
Just scrolled down and saw your comment ... Couldn't agree with you more. I've watched it over and over and I marvel every time. 🎵
Great work again, fascinating stuff. Enjoyed the outro, too : art - high or, low he liked it all! That's an important takeaway. It's all music!
Many thanks!
I really love this channel! It’s bewildering because I am not musically trained beyond strumming a guitar. I can sort of understand whilst you are talking but easily lose the thread! A bit like how I listen to Zappa’s music!
Jeez man, no wonder Vai was singing your praises at the end of your interview with him.
This is incredible.
TBH, it's a bit over my head, but I still found it really interesting. thx
Thanks, Doc. In Raplh |Denyer's 'The Guitar Handbook' (Pan Books 1982) Zappa is quoted as saying, "My solos are speech-influenced rhythmically..."
You're welcome and thank you.
This kind of musical transcription must take years off your life. I'm glad you're doing it instead of me. 👏👏 Not that I could (although I did record drums for Arthur Barrow that had a lot of artificial groupings).
👍
Wow, I am a drummer and I love your channel. Your analyses go far beyond what would be expected from a "guitar channel" and enlighten me on such diverse aspects of music. Besides, I share your admiration for Zappa and watch every video you upload about his music. Thank you so much and please keep it up!
You're welcome and many thanks for watching.
3:26 - playing over speaking reminds me of mononeon who would play over sooo many random videos of people speaking. was really mind opening for me a few years ago when i discovered that style.
4:50 - choosing george carlin as an example is beyond fantastic. im gonna just enjoy the rest of the video now.
Well said. Mononeon is a real master in this field.
Maaann! I just want to invite you some beers and talk for hours, you know some pretty interesting things, thank you so much for these videos about Zappa and Vai and these songs that are not talked about much but are the best. I learned to speak English with these lyrics, they mean a lot to me❤
Brilliant work! I loved your summation. Thanks.
Many thanks, much appreciated.
Wow 7am and already the most interesting idea I’ll stumble across all day. Fascinating!
👍Thanks!
Fascinating. Excellent work. Love that I stumbled across your channel. Very valuable information here.
‘A Zappa fan from way back. You have provided us with so much insight here .. bravo !!
Thank you Charles. Best wishes.
Great to see these pieces broken down and discussed in such fine detail. I had learnt and played both Jazz Discharge and The Dangerous kitchen completely and once all of the notation was in check I solely focused on the words as this was the only way I could memorise it all and your approach and explanation in this video is just amazing. How Steve Vai managed to transcribe Frank's work is still beyond me! Anyway, this is the first time I have commented on your channel and I must say, anytime I'm in the mood for the finest of details this is the place!!!
Many thanks Chris!
@@ChananHanspal Your most welcome!
This is awesome..A PHD on Frank Zappa..that is the most coolest..your videos are a gift..thank you...just this morning after listening to Frank talk with Tipper ..I had an awakening moment and then watching this ...lol..I said Frank Zappa and George Carlin may have been the most important minds of our time..and then yes there he is George Carlin ..intresting how you have broken down the vocal/speech..I've heard of this but not to this level...Thank you again..please keep the work coming..it is important..
This is absolutely fascinating Chanan. Thank you for this.
amazing to listen to this, I used to transpose spoken word by ear and it was hard, but must be so hard to notate it and figure out the meter!!
There's a lot of math involved in all of these (fractions, least common denominator, greatest common factor etc.), Vai elaborates on this topic in his official website, the lesson is titled 'Tempomental' ,a lot of people know Vai as a guitarist, but there's a deeper facet of him as a composer hugely influenced by Zappa
Best about-zappa channel
👍
Another wonderful insight into a classic tune and great to hear you playing a bit of Flexable Leftovers too. I do love Little Pieces of Seaweed :)
👍
Your videos are greatly appreciated by me. Waiting for the next one to come. Thx in advance!
Many thanks!
Yes, thoroughly enjoyed your video and analysis.
For me you make the absurdity tangible and edible.
Speach into music (or the recognition that human speech can be very musical) is a fantastic concept that has a great deal of infinity in its scope.
Another fantastic example for me are the passages of overheard speech in Strawberry Fields.
I thought that your examples were brilliant and funny.
Thank you.
You're welcome and many thanks!
I loved this video and I thank you very much for putting it out there.
You are brillant! You are talking right about all the things I‘m interested in! Thank You!
Many thanks!
Awesome. Well done!
Fine video, thanks.
A few examples of speech-singing would be "Different Trains" by Steve Reich, "Jesus Blood Never Failed Me Yet" by Gavin Bryars and from the other end of the musical spectrum "Philosophy Of The World" by The Shaggs.
Incidentally, I think I'm right in saying that hearing The Shaggs for the first time was a direct inspiration on Zappa for "Jazz Discharge..." and "Dangerous Kitchen".
👍
This is brilliant my man! Few people talk about all the crazy shit vai did with Zappa
Thank you.
I was amazed from early on... but... damn! You used George Carlin! Immediately subscribed. Awesome work!
Thank you very much.
Now this is quality entertainment. And I learned stuff too!
Fascinating stuff
Love it, thank you. It would cool to have Dweezil on to talk about guitar and his techniques on playing Franks Music.
You're welcome and many thanks!
Well I know what I'm doing this weekend- as I reach for the DVDs of "Yes Minister"... thanks Chanan, this is some splendid work!
You're most welcome and thank you.
fantastic channel, thank you
Only a couple weeks in as a subscriber, but really enjoy the originality and level of quality in your videos - far above my reach of putting to practice but really opens my parachute
Thank you very much.
Wonderful!
I remember seeing that George Carlin performance not so long ago and being astounded not only by the profundities of his discussions, but his musicality.
👍
What a video! Thanks again.
👍
First time I heard this was Vai’s “so happy” and “little pieces of seaweed” as a kid it blew my mind!
👍
A qualification I would make is that the tempo doesn't necessarily have to be fixed. In today's music tempi sometimes change as often as every measure, not to mention ritards and accelerandi added within each tempo. Then there's also the option of metric modulation...
I personally prefer transcribing using the simplest option available. When you get into nested brackets you are reaching a level of precision that can be both unhearable and unplayable, which is self-defeating. In certain cases it might just be easier to set the expression to "swing" or "rubato," and all these knotty brackets-within-brackets-within-brackets reduce to something quite simple on the page.
Wait! Who's the guy on UA-cam that plays guitar sorta metal solos to various viral speeches and outbursts? I need to look him up, it's insane!
Andre Antunes? Brock Benzel?
Excellent
👍
Brilliant
This is so cool
Very interesting!
👍
Great analysis and a lovely nerdy deep dive! I guess Frank did the easiest thing in this, he let the boys jam and the talked over it. It’s when Vai and you put it to paper it becomes ‘higher art’ I suppose.
Many thanks!
Having a background in contemporary music I'd say it would be easier in the 5:4 with tuplets it you calculate which metronomic tempo would be the 5:4 and them just practice separately. These higher tuplets at the end are just a way for composers to modulate the metronome tempo without having to keep writing metronome changes.
Attracted to this so called instrudubs thanks to Brock Benzel (sorry spelling) and it's guitar dub of Steamed Hams. It's interesting that this thing is still there and that when we talk, we perceive musical notes so much that it's eazy to transcribe it, but complicated to do if you didn't get the notes properly but as a man said, repetition legitimizes.
Music Is The Best❤️
Hi Chanan, what program do you use to transcribe? I would love to see a video of your transcription process!
Thank you. I usually use paper and pencil to transcribe, but for illustrative examples in my video I use Sibelius. I'll definitely be looking into doing a video on the transcribing process in the future.
The Fall started a series of shows with a recording of Pierrot Lunaire playing. I think it was when they were touring with Michael Clark.
👍
The term 'Nested Tuplets' didn't exist until Music Notation Software became available. Up until then it was Compound Rhythms.
I love you; I love your videos.
You're cool and generous. Either, alone, would be rare enough.
The deepest of thanks.
P.S. A huge ask, but have you ever examined the music of Cecil Taylor?
You're very kind, many thanks indeed. I listened to Cecil Taylor while I was studying jazz, but that was many years ago. I might have to tap into that again. Best wishes!
Genial!!,...THANK´S!!
👍
Legend 🎉
How can you leave out the intro of Yankee Rose?
Chanan Hanspal ... Really, really appreciate you, your skills and your sharing these wonderful videos with us.
Mike Keneally does an incredible job live with Frank's speech tune on Zappas Universe. 🎵
Many thanks! Yes that performance by Keneally at the Zappa Universe concert was brilliant!
Publio Deldago has some awesome videos regarding this topic on UA-cam
Cool
I love you man
👍
Hey Chanan, a quick question regarding notation in the "Albequerque" line
I was trying to recreate the line in notation software, and in musescore there's only really 2 ways you can do it. The first is to divide a half note in to 11 quarter notes resulting in an 11:2 ratio, but the note values themselves have to be multiplied by 4 in order to sound right. Alternatively if you want to get the note values to match up, you have to make the ratio 11:8. Practically both sound the same as the original, but I'm wondering what the convention is for this sort of thing. I understand in the original score you're showing, the context is that it's 11 divisions within the space of two quarter notes - but it seems like 11:2 can represent a few different things depending how you're conceptualizing it
So are all 3 right? Is the notation software being too "literal" in terms of ratios? Was the original score a sort of shorthand because you can imply what's meant by seeing 11 and seeing the note values?
Hi, I'm not familiar with Musescore I'm afraid, I use Sibelius, which judging from your experience with Musescore seems a bit easier to manipulate. In Sibelius, it's a case of choosing tuplets and the note values, so you'd create 5:4 crotchets, then on each beat of the tuplet, you'd insert the nested tuplets, in this case, the 3 triplets and then the 11 semiquavers across the 2 crotchets at the end.
Sibelius seems to share a similar nomenclature to Musescore, in the way it writes 11:8 instead of 11:2, this is the same for Sibelius. Vai has written 11:2 which is fine because it is essentially the same as 11:8 which seems to be the only way you can write that rhythm in Sibelius and as it seems in Musecore too. I don't think it matters really.
(11:2) can mean different things only if we don't specify the note value, so we would usually specify that it is 11 quavers in the time of 8 or 11 demisemiquavers in the time of 8 which I think you already know. I hope this helps and that I've understood your query correctly.
@@ChananHanspal Yea it's the same process in Musescore as you're describing in Sibelius with creating 5:4 and then nesting tuplets I just didn't explain it well hahah. Seems like it's just an issue of notation software needing to be more "exact" vs. if you were to see the original score you'd understand the context, ie: we know it's 11 eighth notes in the space of two quarter notes in the original score but the software needs to have eighth notes against eighth notes in the ratio. Thanks for the response, and thanks for all the videos
You're welcome and thanks for watching. Best wishes
Thank you Chanan for another wonderful video! I really liked the ”Moggio” but this warms my heart a little extra. Years ago I studied, learnt and memorized ”Theme from 3d Movement of Sinister Footwear”. Just like you discuss here, is one of Frank’s solos transcribed by Vai. I’ll put the link here and hopefully we can talk more about how to approach these kind of things.
ua-cam.com/video/KKbQ40F0Sgk/v-deo.html
Thanks for the link. I enjoyed your videos!
👏👏👏👏👏👏
Nice Genelecs! A little piece of Finland haha.
👍
@@ChananHanspal \m/
There is a video where Hermeto made this with a scene of Yves Montand
I did a video on Pascoal a while back that you may be interested in: ua-cam.com/video/461qtZqpOtc/v-deo.html
@@ChananHanspal Thanks, I saw it. Now I repeatedly saw it.
Seems right to me 😅
Really good stuff!
Some of you might think this is weird no wonder it’s not exactly normal but what the f…
Thank you.
lobsters all over her eyebrowwwwwsssss
Sardines, no?
And lobsters up and down her forehead, all of them horribly large from the radiation
@@stanleysdad … whoa! How do they smell??
Sound is the periodic repetition of "noise" and a note is the specific repetition of sound. So is looping a speech phrase = music.
do you give zoom lessons?
Hi, Thank you very much for your work! Zappa is also a constant source of inspiration for me! At my level I don't use such complex rhythms but when I listen to how Zappa manipulates this and embeds it in his wonderful melodies and harmonizations it really delights my ears! Regarding the subject of this video, do you know the excellent work of Frenchman Christophe Chassol (a Zappa fan too!). He makes films which he then re-harmonizes, such as: ua-cam.com/video/X0euvHEnSw8/v-deo.html
Best regards
Will check it out. Thanks for watching and best wishes!
Sprechstimme is a much older technique - roots in opera.....
I guess you - indirectly - make clear why Zappa didn't like music journalists speaking about his music ...
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Speaking and singing at the same time is just the operatic technique of Recitative? Hardly an invention of Schoenburg.....
As kids we used to say 'zebra' over and over again until the words lost all meaning and you couldnt even remember how it was supposed to sound or if you were saying it right
Self-indulgent for the most part was Frank's music. But so is any other.
I've hated Zappa's music ever since I first started hearing him way back in the 60s as a teenager. All these years later I still feel the same. I can't understand why so many people think he's so great. After you've heard this stuff once, why would you want to listen to it again? It's the most boring and stupid nonsense ever recorded.
What's the point of this whole thing?
Jazz Discharge Party Hats? A song about the group sniffing of the detritus inside of groupie underwear? This is the absolute nadir of sexist Zappa that was embarrassing when it first came out and is quite beyond on the pale now. Sprech Gesang was not invented by Frank or Steve. I also don’t care how hard it is to play. I very much enjoyed your video on Gary Numan however. A far superior artist in my opinion.