Tuesday, August 21, 2018

Out Of It

I was out of coffee and money when I woke up.
Sure, I knew when I took the night off from busking that there would be consequences.

As I brewed and drank the last of my coffee, staying up to record music, the dark cloud of uncertainty had begun to form over me.

Monday, the plasma place got me again, paying me only 15 dollars for my stuff, when I had expected, and had planned around getting, 25 bucks.

This means that I can go and get the 25 tomorrow (Wednesday) though, and that I will probably go out tonight to busk for whatever I can get before a string breaks.
A couple sets are on the way; will probably arrive Thursday.

The doldrums of late August can be weathered this way.

The trip to New England has not been postponed, necessarily. I might try to squeeze it in between the second and third appointments at the clinic.

Their pamphlet mentions that "eczema" is another area in which they conduct studies in.

I might inquire about participating in such a study.

As someone afflicted with the "disease," who learned how to cure it by eliminating certain foods from his diet, I could probably give them some valuable information. And get more money in the process.

5 comments:

  1. Geez, those chords are complicated as hell and those are just for C? Aren't there about 12 keys in Western music?

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  2. With a capo, you could move these same chords up and down and be in any key you want, although, capo-ing the 11th fret, to drop it only one, to B major, wouldn't leave you much room to play.
    This is kind of how George Harrison was able to play "Here Comes The Sun," by using just a few of the most basic ones in the chart, but with a capo on the 7th fret.
    But, to achieve them all in the open position, you wind up with some of the odd shapes shown. Most players would limit themselves to a few of the easier shapes and then move them up the neck, using "bar chords" rather than rearrange their fingers in a cats cradle like maneuver so as to stay on the first fret...

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  3. I take that back, after looking at the chart, these are the movable forms that don't rely upon any notes on open strings that would be shifted out of place if you moved the rest of the chord up or down.
    This is a really a chart showing all of the possible combinations that can be made from the 7 notes of the C scale, playing in all 12 keys would just involve changing the fret location of each one, move your B minor seventh shape up to the fifth fret and you would have D minor seventh...which actually should be shown on the chart as such, same shape, different fret...I won't be able to see until I close this comment box...

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  4. Yeah, oddly, I know there are "closed" chords that stop all the strings ("stop" is violin lingo for putting your finger on, or "stopping" the string) and some that you need a capo to keep the chord from sounding like shit if you move up the neck.

    I also know there are something like 4 or 5 chords you need to play 99% of popular songs or something like that ...

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  5. You really could transpose every song into the key of C and then you would soon be able to play "anything" because you would soon learn everywhere a progression could possibly go from the starting C.
    I've actually seen a statistical break down which is like a chess computer that tells you 44 percent of the time in grand master tournaments, the next move made was...
    Like, if a C major goes to an A minor, then the next chord will be F major in 88% of songs in our database, type of thing. So, by learning those tendencies and staying in C you could not only play almost any song but could also make and educated guess as to what the next chord will be if you're jamming with others and they start to do a song that you are familiar with but never played...
    Like, I knew after Billy Joel went from the C to the F in "only the good die young" that the next chord was going to be G seventh; because it sounded like a rock and roll song... if it was something weird sounding then the next chord might have been E minor, or B flat major, but those weird chords would still be then next one say, 4% of the time.
    It takes someone like Dorise Blackmon to be able to see that C to F to e minor would "just" be A to D to C sharp minor in the key of A, why memorize those chords to play that song when you can play it in C and use your trusty C-F-Eminor for it that you can play in your sleep? The drawback is that you might wind up having to sing a song like "Oh, Darling" by the Beatles using even higher notes than McCartney was already straining to hit on Abbey Road, or drop it down to baritone...
    that gives me an idea, though...what would Oh Darling sound like, sung in basso profundo? hmm..

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