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Lazz

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Lazz last won the day on December 19 2017

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About Lazz

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    A Muse's Muse
  • Birthday 03/07/2014

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  1. Things people say or sing

    There is absolutely no excuse, in my grandiose opinion, for not being able to make that fundamental distinction. In "reality", I wager we are all members of different overlapping groups possessing various rag-bags of jargon and argot, for example, and yet we all magically retain the ability to communicate outside those circles with others who know doodley-squat about computers or combine-harvesters. We need to re-introduce appropriateness into the mix, I think. For, while our descriptive reality may introduce the student to the pleasures of shouting "Fuck!" (appropriately, of course), it would surely be a dereliction of duty not to acquaint them with more formal everyday expectations governing places of worship, some professions, children's parties etcetera..., where profanity would be unwelcome. If all a person desires is the ability to make an effective conversational run to the shops, then I guess the descriptive reality fares well enough - 'though surely this is something we learn from neighbours and neighbourhoods. But most often, in my experience, when the non-native speaker has needs to communicate meaningfully and unambiguously - in fields like medicine, law, engineering, architecture, music, science... - they must rely on vocabulary and formal structure. Why should any vernacular fluency necessarily blind us to the operation of syntactical logic?
  2. Things people say or sing

    The word "So..." as used by talking heads at the beginning of their answers to questions. Pointless and without meaning, this linguistic tic has nonetheless proven to be virulent and highly contagious. Another example of not being awake to language in the actual moment we speak. Asleep at the real. And how about "impact"? Phenomena no longer have consequence or effect or influence. Everything these days has impact - another useage which seems to have burned every synonymous alternate from common vocabulary. What's another word for "thesaurus"?
  3. Things people say or sing

    Yes, of course I understand that "could of" is a fair phonetic representation of what people hear. It's just the sleepy failure to recognise - despite vernaculars - what language is doing at the time that we're doing it. And I'm not speaking about writers who know exactly what they're doing, but those who fail to be awake to what their words are doing. What on earth do people imagine "of" should mean in this context? It's tough for me to tolerate the idea that language changes through the blind mangling and murder of verb forms. "Got" - taught in language schools !!!??? There are always better choices: "Do you have?" is easily more graceful that "Have you got?" or the barbarous "Have you gotten?". There are always better choices: hence I believe those guilty language-school teachers must be Merkan (a terrible state of affairs). Merkans appear largely responsible also for the almost total evaporation of the personal pronoun. More casual and thoughtless language abuse. If ever I am referred to as a "that" I take offence at the objectification, for example, and am consequently driven mad by constantly hearing about "a person that did something or other" instead of "a person who did something or other" . Thank you. I feel better now. Where do I send the cheque?
  4. Things people say or sing

    I once had a boss who would visit for coffee and conversation at a site I was taking care of. Words used in conversation had a regular tendency to come back mangled a couple of weeks later. After a discussion about heredity versus environment, for example, he insisted that "It's all genital, innit?". But my favourite had to be when he said enviously, "Of course it's all right for you boys today. All the girls are on the pill. They're impregnable". Which makes a lot of immediate sense. Two other regular mistakes which I find a little more disturbing than amusing are the way people seem to write "could of" a great deal, instead of "could have", and the tendency for people to write and think a metaphor is "tow the line" rather than "toe the line" . It's as if they've been using language all their lives without paying real attention. It certainly means that they don't read. I far prefer more creatively inventive mistakes like those of my old boss over those lazy ones.
  5. Narwhal.

    .... a recording would have been cool, too. Sadly, the technician responsible is a klutz and a schlemiel. Hard to be both at the same time - but let's say he is particularly inspired.
  6. Key Analysis

    I, for one, found the information quite indecent and very confusing. It is neither wise nor useful to presume that we all understand the same language in the same way. Difficult to know where to start - especially in text among amateurs with different grasps of theoretical concepts - but it certainly requires greater one-cumulative-step-at-a-time clarity and a severe reduction of ambiguity. My impression is that you have made a seriously decent fist of teaching yourself some theory - and of a type which evidently works happily for you - but, to pass that information along successfully to another we need to patiently comprehend where that person is actually at in order to help them reach where they wish to go. Better efficacy can undoubtedly be achieved face-to-face.
  7. bVIIMaj7 and Modal Interchange

    Good advice for everyone.
  8. "YouTube & Copyright"

    Personally, Tom, I would be more concerned about the rights in your own material which have been transferred to YouTube under their standard licence.
  9. The Last Gasp

    OK - Maybe I should have said "Penultimate Gasp". But we do open with an atheist prayer. How's that?
  10. How can we improve the site?

    You could live closer, for a start.
  11. "Is It Time For A 12th Note?"

    I don't see the problem, Tom. I don't think there is one.
  12. The Last Gasp

    Just spent a lovely evening of beer and laughter in the company of an old commercial west-coast arranger. Not that old. Fred is actually a handful of years my junior. But certainly old-skool. With craft expertise and professional fluency in generous abundance. And his models for organising the musical universe are those he learned from Dick Grove The Dick Grove School of Music in the San Fernando Valley was, through the ‘70s and ‘80s, Southern California’s leading trade school for instrumentalists and singers planning to work in Hollywood studio and entertainment scenes. Students include Michael Jackson, Linda Ronstadt, a whole legion of west-coast professional jobbing lesser-knowns like my co-writing partner, Pat Coleman, for instance….. And Fred. Dick Grove’s own comprehensive system of music education incorporated the old Schillinger system which formed the basis of curricula at Berklee – I once encouraged Alistair to choose one of their free courses for fun and unrealistic challenge – and the Fred Stride system is grown from Grove’s. That’s the vague lineage of a style of thinking, as I understand it, which became the muso lingua franca. A couple of years back I spent half-a-dozen hours a week for a handful of months studying theory under Fred’s tutelage. A very high-intensity privilege. Then another handful of months sub-editing his un-published pedagogic texts. And all full of the stuff (finally!) that I wish I had known about fifty years ago. If only … Right now though, in my dotage (or “though in my dotage”), I have gathered together a collection of songs as last-gasp performance vehicles for my decrepit self and rhythm section with small horn-section of trumpet (doubling flugelhorn), tenor sax (doubling soprano), and trombone. But my progress in writing the arrangements has been slow and tentative. So I asked Fred for help – and he made me a magnificent and unexpected offer. Fred said we should treat the performance in entirety. My job first, he told me, is to organise two sets. Paying attention to keys & tempos, grooves & styles, continuity & contrast, tension & release, he asks me to make a detailed sketch of their emotional contour. And then, when I bring him the lead-sheets, we can sit down together at his piano and construct complete written arrangements for a satisfyingly coherent evening of entertainment. I am excited.
  13. Meter Matters!

    My opinion is that musicality for lyricists is most effectively developed through writing to a finished score - melody and changes complete. And that the more one learns about the musical process, the better we lyricists can do our job. "Music is maths to a large degree" I doubt the truth of this widely shared observation and question the wisdom of its repetition without caveats. I have regularly heard folk deride the works of Bach, for example, because "it's all mathematical". Yet that evaluation seems to me purely retrospective - like all theory. Music can be made mathematically, I know, and it has been my pain to have listened to some of it. 12 tone series and stuff like that. You set up a formula and follow it. Modern, experimental, blah blah blah. But it all sounds like crap to me. Real music seems to me the product of a composer pursuing what sounds right to the ear. And then afterwards other people come along and use a little maths to make sense of why it works the way it does. I believe it's also very important and useful to get down with different scales and understand the different chords they generate.
  14. President Trump

    And that malaise is fascism.
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