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Mullen D10-8/5
Sho-Bud S10-3/4
Evans Amps
"Making The Stars Shine"

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               Bobby Lee
-b0b-   quasar@b0b.com
 System Administrator

[This message was edited by b0b on 27 October 2004 at 02:31 PM.]

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Mullen D10-8/5
Sho-Bud S10-3/4
Evans Amps
"Making The Stars Shine"

(button removed)

Update 11/12/2004The booklets are all gone now. Thanks, everyone, for your support!
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               Bobby Lee
-b0b-   quasar@b0b.com
 System Administrator

[This message was edited by b0b on 27 October 2004 at 02:32 PM.]

Sent you an email. Please include one of these booklets with my CD order and I will send the donation on Monday.

Thanks...

Don

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84 SKH Emmons Legrand D10
session 400'rd Steelin for my Lord.

Tom and I were pretty close friends in those years and I found it interesting to note that, while my thinking and writing about music was in the vertical plane, his was in a horizontal orientation. And also, his thinking was much more linear in that he would go to the next note in a scale for his follow through explanation while I stayed mainly in the circle of 5ths in building sucessive scales, either sharp or flat.

The same trend holds to this day in this Forum where some folks write out a tuning. low to high, from left to right as Tom does and others use a vertical pattern. I recall Bob White writing out his Bigsby pedal set-up on a napkin in the cafeteria of the Tinker NCO club when first we met in the late 50's and it was from left to right. Sometime later he was writing it in a vertical pattern so it is interesting to see how things change with the time and need.

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MCI D10 8/4 and Nashville 400

quote:

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"I wish b0b could put this information some way on the forum so all could benefit from it."

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I think that's a great idea, with Tom's permission of course. (and a "Make a Donation" button")

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Mullen D10-8/5
Sho-Bud S10-3/4
Evans Amps
"Making The Stars Shine"

quote:

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It doesn't matter whether horizontal or vertical...

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I wish the guys who invented classical musical notation a couple hundred years back had felt that way. I can't even imagine how that system would work in the horizontal. Pitch flows up and down, time flows left to right...It's worked that way for centuries, why change it now ?? Conventional TAB also follows this classical structure. It's not a big thing for chord examples but I wanted to point out my conclusions which have frequently been misguided and/or mistaken; no more; no less !!

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Mullen D10-8/5
Sho-Bud S10-3/4
Evans Amps
"Making The Stars Shine"

Time is thought to flow forward, because we walk forward, and time passes.
Mostly because our eyes are on the front of our face, and from gravity putting us on our personal plane / arc.

But if we move vertically, time would also pass in that direction.

If we are in a spqace ship and are moving from earth,
we are moving head first vertically in time as well as place.

Yet as the world revolves our progress
while walking forward and playing guitar,
could acutaly be moving backwards and down 3 miles.
Yet we would still percive our progress iin place and time as moving forward....

Pitch moving up also is rather arbitrary.
Why is it, that :
low frequencys or better stated slower frequencies
are thought of as lower in height?

And high frequencies or better stated as faster frequencies
are thought of as higher in elevation?

If we play a keyboard in that space ship. and because of weightlessness it is at an angle in which slower frequencies
are played moving AWAY from the earths gravity field, this would negate the UP metaphor.

The chinnese read completetly inverse to us,
and I believe also in their music.

If the staffs went top to bottom,
it might actually mean faster frequency notes were placed more right and the slower more left,
like on a piano, or when you sit behind a guitar.

(Interestingly on a guitar higher pitches are lower, or closer to the earth than the lower pitches....
But scored in the inverse.)

And time could scroll by like a piano roll.

And equally valid way of looking at time and freqency based information.

[This message was edited by David L. Donald on 27 November 2004 at 02:04 AM.]

David: You raise some interesting points especially those pertaining to the Chinese form of writing. I was in the Orient for several assignments with the military and the direction of writing and the use of idiograms was a big stumbling block for my learning the language to the extent of reading it. Anyone can learn to parrot mimic the speach/talk; even babies do that. But while I was in Japan at the time, their use of Chinese idiograms in their printed media was extensive. I can visualize the thoughts you present but I was speaking of notation and it's hard to make the correlation to that format. Nevertheless, I appreciate your input and always look forward to your posts.

I was also refering to notation.
It is totally possible to create a viable music notation on another axis than the standard.
And with a little time, we would read it with the same facility... or lack of it.

My point was illustrated buy the chinese method of writing text.

To some extent our chord charts or the Nashville Number System is a form of ideogram for musical chord communication.

And if the chords are dense enough full musical melodies embedded into the chords. Jazz dioes use this a lot.

I can and have read linearly DOWN a page of chord symbols writen for a session.
Seem the ONLY paper she could find was and old cash register roll.
And it was easier to write along the roll than try to hold it flat left to right.
Then she taped it to a door.

I did the track in pretty much the same way,
just the reading was a bit odd.

But this was a top to bottom read ideogramatical representation of music.

Yeah, but that's natural to them because they're upside down. Good discussion, but it got over my head. I think it was the ride into space head first. I'll probably keep thinking horizontal unless I can find one of Pauls Big Yellow Books.

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Mullen D10-8/5
Sho-Bud S10-3/4
Evans Amps
"Making The Stars Shine"

[This message was edited by Don Ricketson on 27 November 2004 at 07:49 PM.]