Gamma Music

[ENJoymENT]

https://www.guitarplayer.com/players...tly-weeps-solo

I was thinking about why Prince’s guitar solo during George Harrison’s RRHOF induction is so emotionally affecting. Of course he’s unbelievably incredible…a unique and unprecedented talent without a doubt. But even more than that, it’s his humility in stepping back and allowing someone who isn’t even a Hall of Famer to take the spotlight and have the main solo. Also…it may APPEAR that I am valuing Fe at the “group performance” of George Harrison‘s classic. But the truth is that the only reason I value it so deeply is because of Tom Petty’s personal support of Prince. Without Petty, it could’ve otherwise been a lacklustre dial-it-in performance by a bunch of complacent superstars. It is only because Tom Petty set all of the “petty” ego issues aside, and was secure enough as an artist to recognize that the music should come first, that he was then able to single-handedly provide the emotional support that allowed Prince to let his guard down and feel like he was actually welcome to be part of the performance (apparently, everyone else had given Prince the cold shoulder). Dhani Harrison (George’s son) also provides emotional support to Prince during the performance, although apparently afterwards, he commented that Prince should’ve toned it down. I understand this conflicted attitude of Dahni though – when it comes to the death of a parent, you ultimately end up having all kinds of defensive judgements and protectiveness issues.

I guess what I’m trying to say is that Tom Petty sent the blatantly obvious social cues that someone like me requires in order to feel welcome/included. If I had been going out on the town with that bunch of people, I would have stuck by Tom because he possessed the secure “feeling” ethics to not play any mental games with people’s emotions. I’m not sure which socionics type Prince is, but I’m guessing that he is Fi valuing. He is stiff and an obvious outsider during 3/4 of the performance. It is only after Tom Petty is emotionally brave enough to step forward and actually extend some emotional support, that Prince then becomes artistically invested. A lot of the joy I receive from watching Prince’s performance is from watching his authentic, lost in the moment facial expressions, as well as his emotional expression in the way that he opens up for and plays exclusively to Tom. In this way, Tom Petty is just as responsible for all of the praise that this epic performance consistently garners.

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With respect to Alanis Morissette’s debut television performance of You Oughtta Know on David Letterman, here is a quote from an audience member csilver522 who was present:
“I was in the audience for this. We had no idea who Alanis Morissette was (I don’t think anyone did at this point), and I remember being terrified by the intensity on stage. It was loud, angry, and passionate as can be, and watching this now, I realize I witnessed an epic musical performance. This is awesome, and I wish I had been able to appreciate it at the time, but I’m not sure Alanis wanted it that way. I think she wanted to scare us. She did.”

https://youtu.be/TS3oLs1JF50
A performance of pure passion and emotion by Alanis as well as the band. For some reason—likely because I lack my own Se & Fi—I am somewhat soothed and in total admiration of people who can display this type of emotion and angst on my behalf. All while I lamely proclaim from a safe and emotionally insulated perch “ya that’s fucking right!” If anyone is wondering what Se HA is seeking – look no further, this is fucking it. Also, since Janice, I don’t think there’s been any hard rock band/accompaniment backing up such an emotional female singer. Good on that band, because they all fucking killed it (&RIP Taylor). Want to mention that Dave Navarro played guitar and Flea played bass on the studio version of this song.

[get R]

[get R]

[get R]

[Renna]

Punch!

[crazymaisy]

SEE anthem

[two]

Just remembered I'm lazy after a listen

[Averroes]

[Averroes]

[Averroes]

[CptLandhawk]

As far as Rock and a few of its subgenres

Gamma Intratim: Soundgarden, and Alice In Chains

Gamma Extratim: AC/DC, Cream

[CptLandhawk]

@ENJoymENT

Prince's note choice is pretty interesting. He starts off in the blues scale but then borrows a few notes from the Dorian and Aolean scales, which are both used in Spanish guitar

Another thing he incorporates is his phrasing. Phrasing is when you build "sentences" with notes from a guitar solo. First section ( first 14 secs of the solo) he follows the lyrics that you'd sing In the song, while throwing in enough variation to where you go "that's different". Similar to an improv singer with their voice.

Next 14 seconds(thats where he shifts to the fancier scales) he varies bit ends that bit with a piece of the singer's melody again to remind you what song this is.

Instead of running through a stream of notes he breaks and makes little passages with a clear distinction between them a la Clapton or Hendrix.Here is this one...then the next...and the next each one of them rising in octave and pitch, along with speed and dexterity, creating a sense of progression and rising intensity; and if you pay attention you'll notice all his "sentences" are approximately the same length in time. Nice and neat following the song with pauses that allow it to breathe before switching gears.

And every time he ends one passage he goes back to how Harrison would sing the lyrics to the main line but again with little tiny differences.

The rest is in details like his tone, both his guitar settings and the changes in pressure he applies to the strings with his pick. His vibrato (same way a singer shakes the note at the end of a phrase the guitarist shakes the note with the finger) changes in aggressiveness as the solo goes by


Music is subjective but there are hard, technical measures that can make something sound not just great, but emotive and dramatic. Gives it a body and lungs. Gives it life and the ability to breathe.

[End]

Dwaves and Humans vs. X always felt like Gammas and Deltas vs all others IMO...

Probably why they tend to get along while the "mountainfolk" take quite an issue with the knife-eared arseholes...

[ENJoymENT]

1528523[/URL]"]1528523[/URL]"]1528523[/URL]"]1528523[/URL]"]1528523[/URL]]@ENJoymENT

Prince's note choice is pretty interesting. He starts off in the blues scale but then borrows a few notes from the Dorian and Aolean scales, which are both used in Spanish guitar

Another thing he incorporates is his phrasing. Phrasing is when you build "sentences" with notes from a guitar solo. First section ( first 14 secs of the solo) he follows the lyrics that you'd sing In the song, while throwing in enough variation to where you go "that's different". Similar to an improv singer with their voice.

Next 14 seconds(thats where he shifts to the fancier scales) he varies bit ends that bit with a piece of the singer's melody again to remind you what song this is.

Instead of running through a stream of notes he breaks and makes little passages with a clear distinction between them a la Clapton or Hendrix.Here is this one...then the next...and the next each one of them rising in octave and pitch, along with speed and dexterity, creating a sense of progression and rising intensity; and if you pay attention you'll notice all his "sentences" are approximately the same length in time. Nice and neat following the song with pauses that allow it to breathe before switching gears.

And every time he ends one passage he goes back to how Harrison would sing the lyrics to the main line but again with little tiny differences.

The rest is in details like his tone, both his guitar settings and the changes in pressure he applies to the strings with his pick. His vibrato (same way a singer shakes the note at the end of a phrase the guitarist shakes the note with the finger) changes in aggressiveness as the solo goes by


Music is subjective but there are hard, technical measures that can make something sound not just great, but emotive and dramatic. Gives it a body and lungs. Gives it life and the ability to breathe.

Yes… he/you had me at “that’s different” than the actual paint-by-numbers studio version. Yet all without straying too far from the living heart of the track by selfishly reaching too often into his own personal arsenal/bag of tricks just to display them for their own sake. Everything he opts to do is creative, yet all while simultaneously remaining true to the spirit of this George Harrison classic. It’s not his display of technique as a skilled guitarist that is special, it’s his ability to seamlessly fit his talent into the existing framework of the song in order to both creatively enhance, yet fully honour it.

And yes—equal and perfect amounts of melody, breathing space, technique, and ultimately heavy rock ‘n’ roll abandon/freedom. The only guitarist in my opinion who can mournfully bend notes in such a manner to slay me emotionally, is Clapton…well okay, also Duane Allman’s slide guitar in the despairing coda of Layla. Actually controversial within the musicians’ community…in that many claim he’s disconcertingly out of tune in spots. But to me, I truly believe that those bends have to be an intentional artistic choice—because they are my absolute favourite parts of this song. They paint an atmospheric melancholia…from 3:50-5:40 opens me up both physically & emotionally. It forces my breath to finally exhale and my shoulders to drop in surrender. And about 70% of the time when I hear it, this section brings genuine tears to my eyes in gratitude of actually acknowledging that I have feelings and emotions. Palms up in surrender…open…being showered in despair, and yet somehow loving nonetheless. And it’s not my fault—its cause is the experience of being caressed by the anguish inherent in the guitar’s notes. Layla is in fact my most favourite romantic song.

Second place is Queen’s Somebody to Love live at Milton Keynes—especially the improvised piano intro—when F.M. shrugs/raises his left palm up in despair. Queen was actually my first live concert in Toronto during “The Game” tour. Can’t tell you how much respect I have for the fact that these four musicians each bring it—covering one another’s backs—doing ALL of the instruments, vocals—no autotune, no back up singers etc. And most impressively—no cell phones in the audience, everyone present and contributing emotionally in the moment. It’s pure passion. https://youtu.be/v8L3TCXsyX4

Third has to be Prince’s solo. I find it very interesting that you describe Prince’s musical passages as sentences—“nice and neat following the song with pauses that allow it to breathe before switching gears”. This description really expounds the intentional maintaining of the underlying structure in order to avoid alienating the unsophisticated listener. All the while thoughtfully and intermittently overlaying creative embellishments which elevate the experience to a creation… as opposed to merely an imitation.

It must be immensely emotionally invigorating and soulfully satisfying to be able to create and express at that level.

[Averroes]

[Averroes]

[ENJoymENT]

1529185[/URL]]

I LOVE this song, my favourite since Era Vulgaris’ Suture Up Your Future & 3’s &7’s. It’s the best song if you’re pissed at somebody: “I sat by the ocean, and drank a potion baby, to erase you”. I like the QOTSA’s lyrics that blatantly call out our contrived exteriors. “The truth hurts so bad wouldn’t you say…so why tell it? If ignorance is bliss than I’m in…heaven now”. Apparently according to Homme, he wrote most of the lyrics for …Like Clockwork while he was depressed and laid up in the hospital. Thus the lyrics are deliciously introspective and cut right to the authentic emotion:

'Do you know who you really are? Are you sure it's really you'?Lies are a funny thing
They slip through your fingertips because they never happened to you
Time wounds all the heals as we fade out of view
Imagine I'd be your one and only
Instead I'm the lonely one
You, me, and a lie.

[ENJoymENT]

https://youtu.be/xpkRtzNUQtE

Them Crooked Vultures. From 4:20 onwards, Dave Grohl totally captures the freedom and joy inherently derived from playing the drums full-on and without restraint— a la Keith Moon.

[get R]

[lavos]

Singer is SEE.




ILI.




LIE



ESI.

Themes: capitalism, money, imagination, over-arching tragedy, sacrifice to a loved one, power, truth, mysticism, moralist judging of wrongdoings, and sympathy towards the unfortunate.

[ENJoymENT]

QOTSA Misfit Love: https://youtu.be/CULuecEvxbs big, bold, sensual.

Do me first, do your worst
Gimme what I want some of
One track mind, no time to waste
Sidewalk feel me strut so good
(Gutter don’t forget this face!)


QOTSA I’m Designer: https://youtu.be/SRdKseK1JXU everyone needs a little whack. Frank cynicism.

The thing that's real for us is fortune and fame
All the rest seems like work
It's just like diamonds—in shit!

I'm high class, I'm a whore…actually both
Basically, I'm a pro
We've all got our own style of baggage—why hump it yourself?

You've made me an offer that I can refuse
'Cause either way I get screwed
Counter proposal: I go home and jerk off, Ugh!

It's truly a lie
I’m counterfeit myself…
….
You're insulted you can't be bought or sold (translation: offer too low)
You don't know what you're worth—it isn’t much
My piano's for sale

How many times must I sell myself
before my pieces are gone?
I'm one of a kind—I'm designer!

Never again will I repeat myself
Enough is never enough…
NEVER AGAIN will I repeat myself!!


Not sure of Homme’s sociotype, but I love his fearless lyrics. He seems Se valuing…perhaps Se seeking, which is why I relate. The lyrics are bold and in your face…yet at the same time self deprecating, so it’s humorous as opposed to obnoxious.

[Averroes]

[get R]

[get R]

[Renna]

[Averroes]

SEE

[Averroes]

SEE

[Clarke]

I've liked Opeth and Infected Mushroom.

[WinnieW]

Can't tell the quadra of Opeth, but Infected Mushroom doesn't seem gamma to me. Too much Ne and some songs Fe.