Doodlehums

I wanted to write some lyrics for this, but I never finished. The sax bridge part is goofy, but I like it. I was rediscovering modulations in this one. I'd like to write some sort of interweaving lyrics for this some day.

There are three portions cross fading one into the next. It opens with a hint of the main loop that quickly fades into the dream-rhodes, that then fades into the bass and tape-echo guitar. That breaks into the heart of the song: a spliced together loop of Cajun fiddle mixed with strings and beats. It then breaks down into each component of the loop and finally comes back together as the complete loop again with a strong alternating bass. Finally it cross fades back into the dream-rhodes, with a reprise of the echo guitar and a last gasp of the main loop to end it.

I was experimenting with the tape echo effect here. The echoing farfisa morphs from a short motif into an even briefer three-note pingponging repeating echo. I took care to use notes from actual guitar chords, and sequenced the strumming. I was experimenting with the amp simulator in this. This whole song is built out of late 60's chords and melody snippets. But they're bent into 7/4 time.

The piano is singing "Saturday 4 AM". Even though it's in 7/4, it's intended to flow like night fading into dawn. saturday 4 a.m. where are you? here i am. being me. far away. silently.

Fooling with effects: tight echo. Fooling with sliding guitar chords. This song is actually structured as ABA, but the B section is too much like A so if you don't listen carefully you won't hear it. As a result it seems to repeat even more than it actually does. I also was experimenting with the violin sound against the piano chord doodles and how that interplays with the guitars.

Another experiment with splicing of samples into a loop that forms the heart of the song. There are chunks of blues harp mixed with strings. There are actually two similar loops: a sparse one and a busy one. I mixed in some crowd effects just for fun. The bass line halfway through was built by starting with an appleloop on a software instrument, and I edited most of the notes to form what I wanted for bass for this song. It's actually two melodies woven together. The drum loops are also chopped up to go with the chopped up sample loops; but I think it is probably too harsh sounding.

Built from orchestra string appleloops. Meant to be both happy and sad derived from repeating something over and over with variations. Thus the title. The bass line is alternately upbeat and business-like. Various bits of violin are meant sound as though they might be melancholy or searching. The synth with sweeping filter plus a modulation is intended to sound like something new is coming, but, alas, it's just more of the same after all... The end reminisces with old LP record vinyl scratching. Somehow this has to do with being kept indoors one day as a kid due to tornado warnings.

"Ailerons can be used to generate a rolling motion for an aircraft. Ailerons are small hinged sections on the outboard portion of a wing. Ailerons usually work in opposition: as the right aileron is deflected upward, the left is deflected downward, and vice versa." A silly experiment. Built by slamming together several loops of styles that probably were never meant to be together. Thus they work in opposition to create a rolling motion.

Wind and beat like SW Indian cultures perhaps... Or from SD playing in Vegas: don't lose that number. Also from: "errors and omissions," a type of insurance, with additional implications stemming from there.

"Pertaining to laughter." (And yet... look up gelastic seizures some time.) More slamming together several loops of styles that probably were never meant to be together. Starting somewhere in the middle I tried to overuse modulating up a half step on each repeat, but it doesn't seem so bad... This song is just plain wrong. A joke. Yet I find it strangely compelling. Thus the laughter at the end. Propellerheads does NIN? dunno.

Il pleut. Built from appleloop acoustic guitar noodlings. Picked a bass line that reminded me of the Doors, and mixed in some other fragments. I spent quite some time composing details for parts of the bass line. It repeats twice, second time doubled by the piano. I meant the rhodes to reinforce the "rider on the storm" effect. Mixed in some actual rain and thunder recordings.