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Spelling it Out
Each instrument gets a chorus (or verse) and thus a lot of variations in sound can be realised.
I like to think there's a touch of the stillness of a harbour after the ships have sailed away, which has been captured in the tone of this piece. The water which was churned up and muddied by anchors and propellor screws has returned to a gentle lapping, with crickets chirruping in the long grass behind the quayside. After a brief opening statements, some degree of busyness recurs as the tune is embellished and additional instruments add their contribution to the message of peace.
Overbite at the Till
The initial statement of the theme drops away, leaving a nicely empty section. Then the strings return (cheers to the Scratch Amadeus Ensemble quintet) and finally a picked guitar. The kisses at the conclusion always do it for me… teaser indeed!
Concerto No 1
Rhodes arpeggios inform long string chords, and the first statement of the theme. A sonorous piano picks up the tune, finally giving way to nylon guitar and even more enthusiasm from the strings.
Rhapsody on a Theme by Telemann
Congas and hammond set the atmosphere for this one; they ramble for a while until the Telemann piece makes an entrance (at 2.24, if you're counting).
The final statement of that theme is provided by cello, in acknow-ledgement of the composer's love of that particular voice, as demonstrated by its featured place in his Musique de Table works.
Lord of the Trance
Please note this cover design for the sheet music reflects the loose drawing style so beloved(?) of readers of the Good News Bible.
Hopefully it's impossible to dance to this, either in a house/rave way, or with those annoying keep-your-body-still-while-your-legs-go-mental efforts.
Excelsior is a favourite word. It refers to the packing material (often shaped like cheesy wotsits) with which some deliveries are stuffed. However, these days, bubble-wrap will often suffice.
One or two juicy little jazzy moments here (0.46; 1.00) give way to some great cymbal work and an exposed bass before the piano breaks in again with the main theme (2.03). Into half time at 3.35, the theme is restated a little later. The brief second movement (5.42) develops the theme a little and then moves (6.29) into a gentler groove.
The third movement (7.45) has a similar feel to the first until (9.16) it swings away into something reminiscent of O Sacred Head Once Wounded, but with changes. At 9.45 comes the first exclamation of Excelsior! with the piano once again taking the lead. Some jazz improvisation follows (11.11) and at 12.43 the soaring theme re-emerges.
You've Got a Friend
Piano, synths, Hammond organ Andy Back
Drums, percussion Nathan Student
Fretless, electric and upright bass Matt Black
Acoustic & electric guitars Ian Spyrer de Deet
Vocals & overbite on track 3 Theresa Teaser
String Section: Scratch Amadeus Ensemble
violins Róisin d’Boe, Barry O’Large
viola Pete Siccatto, cello Sal Ponty
string bass Spike Balanced
Horn Section:The Brass Monkeys:
trombone M Booshaw, trumpet Val V’rattler ,
alto & tenor sax Smokey Reid
I spent many happy hours under the harsh but fair tutelage of Nathan Fellingham, learning to play the drums; Matt Black is a pseudonym I've used many times (get the Breakdown EP); International Band of Mystery and Garrett hero Dieter Hachenberg once stated that my guitar playing inspired him to learn the instrument. You already know about Theresa.
String players know that you have to rub gunk called rosin into the bow to get the best vibrations, that bariolage describes the sound made by bowing two strings simultaneously (as often heard in folk fiddling); plucking the strings (rather than using the bow) is called pizzicato; sul ponticello refers to a bowing technique close to the bridge to produce a particular timbre or tone; and bowed basses balance on a long spike.
Meanwhile brass players purse their lips against a mouthpiece establishing
an embouchure, trumpeters may often rattle their valves, and saxophones,
while categorised as brass instruments, are played using a reed.