Notes_Norton

Heartbreak Hotel - Elvis Presley

I just can't see it Ed. :D

Don't Smoke In Bed - k.d. lang

Future? In The Year 2525 - Zager and Evans

I've just read that all the wildebeest in Africa have been replaced with animatronic copies. Fake gnus!

Answer: The Hunter - Albert King (and covers)

We play a song about thongs and an insect. "Flip Flop And Fly"

Well it wasn't as bad as it could have been. Thankfully I over-prepared. Today I took the storm shutters off, dropped the storm awnings, picked up tree branches, picked up palm fronds, swept up plenty of downed leaves, and ran the generator (it was out, and needs to be started a few times per year). Time consuming, but not hard work. I hope your son fared well in PSL Bill. After this COVID thing is over, if you come down to visit your son, let me know. Perhaps we can meet up somewhere. Notes

She Just Wants To Dance - Keb' Mo'

Here at my estate on Monteverdi I attempted a Liszt of classical composers but had to go Bach because I couldn't get a Handel on it.

"Why Don't You Love Me?" - Beyoncé

And two more, Stan Getz

I'm thoroughly repentant (and ducking for cover)

A lot of people dis pentatonics, but every human musical culture on earth independently discovered the pentatonic scale. One of the oldest instruments ever found was a thigh bone of a band drilled out to play a pentatonic scale. The reason is physics and I don't remember exactly the formula, but the sound waves are all divisible to that of the tonic (or something like that) so that they are more or less natural harmonics of the root. I learned that many decades ago, so if someone can correct or elaborate on that it's appreciated. Even bop players like Charlie Parker played predominantly in the pentatonic scale, varying off for tension, and coming back to resolve the tension. The great Motown sax player Junior Walker played only 5 notes, but he knew where and how to play them. You can play for yourself, you can play for other musicians, or you can play for the general public. If you are good enough, you'll get the audience you asked for. I play for the people, the people understand pentatonics, so I play a lot of pentatonics, drift off for tension, and return to resolve the tension. What I play is a cooperation, even a dialog between myself and the audience. And remember, the objective to playing music is to have fun. That's why they call it PLAYing music. Notes

Listening to power tools as my neighbors get ready for the approaching hurricane. I've got everything but the last minute preparations completed.

Hurricane Isaias looks like it's going to hit us I'll likely be AWOL for a a day or more. Being in a sparsely populated part of town, we are the last to get our power restored if it goes out. (As if COVID wasn't enough)

Definitely!

What did the missing one say???

Disco Duck - Rick Dees

Sometimes playing slowly is more challenging than playing fast. There are so many things to consider for each note, dynamics, vibrato, intonation (or intentional pitch deviations), ornaments, phrasing, articulation, and so on. Often I listen to singers to get expression on my sax or wind synth because it sustains with breath. One example of slow and expressive is this one: or on sax the great Stan Getz:

Depends on how much time I have, and how much UTube is buffering on my slow Internet connection. I've discovered a lot of music I never would have given a try before, some of it very good and delightful, some of it not my proverbial cup of tea, some in-between, but always interesting. Often what I list I'm listening at home on my stereo (I have over 6,000 CDs and hundreds of LPs) and sometimes the post is a different version. Again, it depends on how my DSL is acting or acting up today. Right now I'm listening to the guy I consider the world's all-time greatest jazz singer, Mark Murphy and an album from the 1970s that doesn't have a bad or even mediocre cut on it. Everything is superb.

Thelonious Monk - Blue Monk