Kickstarter – Musical about the Life and Songs of Myra Taylor

People, Performance, Songwriting Comments Off on Kickstarter – Musical about the Life and Songs of Myra Taylor

Check out my cousin’s new Kickstarter project – a musical about the life of Jazz Songwriter/Singer Myra Taylor.

When I Need Your Love

Audio Recording, Composition, Education, Guitar, Songwriting 1 Comment

So… congratulate me!!

I just finished the second of two Master Certificate programs at Berklee College of Music’s online campus – Berkleemusic. The first was Theory, Harmony and Ear Training, completed last term. This one was Arranging & Orchestration, where I just posted the last scoring assignment for Film Scoring 101. I’ll be re-doing that submission in SONAR with EWQLSO before posting it here. Right now it’s still being exported from Sibelius, which is great for writing but not so great for rendered audio.

However, the final project for Brad Hatfield’s Songwriting for Film & TV came out rather well, I think. It’s a tune called When I Need Your Love and works as a replacement for Can’t Hurry Love, which plays over a montage in the film Alchemy (if you’ve seen it, you know what I’m referring to).

Thanks to my brother Tony for providing the May-style guitar work in the interlude, and to Ken Daniel for providing drum fills that made the drum track come to life. Also thanks to Brad for suggesting the bells (actually, he meant glock, which I interpreted as tubular bells… but it works).

When I Need Your Love – MP3 – VB – 4.8MB – 2:38 min.

Have a great summer everyone!

Fold Over Me

Audio Recording, Composition, Performance, Songwriting, Video 3 Comments

Hopefully I completed my first Master Certificate (in Theory, Harmony and Ear Training) at Berkleemusic last week (update: with a 4.0 average! …uh-huh… uh-huh…). Still waiting for the final grade to be posted for my last class. It was a lot of work, but it sure doesn’t seem like it’s been over two years.

This term should be the last one for the second Master Certificate (Arranging and Orchestration). Both classes look to be extremely interesting: Film Scoring 101 and Songwriting for Film and TV.

We hit the ground running in Songwriting – the video below is my submission for the first week’s assignment, which was to write a song for a snippet of an episode of Grey’s Anatomy, which I’ve never watched. All week I kicked around ideas but nothing really gelled. Then yesterday on the way home from band rehearsal a bit of a verse melody came to me, then some bridge melody and, before I got home, I pretty much had the whole tune composed in my head. Pardon the ugly vocal – I’m fighting a really nasty cough right now. If this thing lives beyond schoolwork, hopefully I can get my daughter to sing it.

This was done in SONAR 8.5 Producer (32-bit version) since QuickTime doesn’t yet support 64-bit and I didn’t install a 32-bit version of SONAR X1 (which, so far, really hasn’t even been worth the nominal $99 I spent for the upgrade). Drums are Session Drummer 3; guitar and piano are both EastWest PLAY instruments, played/sequenced by me; bass is me, live. I think I got the audio file a few seconds too long (whiteout at the end). Hey – it’s my first time ever trying this…

Video is below (just click). Enjoy.
Read the rest…

Deep Star Space Trek Voyager No. 9

Audio Recording, Composition, Songwriting, Synthesizers Comments Off on Deep Star Space Trek Voyager No. 9

Another week, another chord progression experiment.

This one really got away from me, heading in a Jay Chattaway direction before I could slow it down.

Now I just have to write and produce a new spin-off series so I can persuade myself to use this as the opening title music.

Hey… it’s late and I’m getting punchy… 😉

Enjoy!

Fanfare for the Common Battlestar – MP3 – 192kBps – 1.9MB – 1:21 min.

Tunevolution: Those Crazy Eyes

Composition, Education, Software, Songwriting, Synthesizers 1 Comment

Last week in Songwriting Workshop:Harmony, our assignment was to put together a progression with certain characteristics. For that I created a groove that goes from a Im IVm Aeolian “power progression” to a Im IV7 Dorian equivalent. This inspired some additional changes that ultimately turned into a nice rumba thing:

Week 5 Assignment – MP3 – 160kBps – 1.7MB – 1:28 min.

This week was our midterm assignment and I chose to stick with that basic rumba groove and see what I could do with it. I didn’t like the G7sus4 G7 “resolution” because, well, it was just a little too “one-four-fivey” to go to CMaj after the very cool change to FmMaj7 and the other stuff that precedes it. I started fooling with it and hit upon a nice E7#5 which – immediately – struck a raw Steely Dan nerve that didn’t seem to want to settle back down. So I went with it.

The result – at least to me – is nothing short of astounding. That is, it doesn’t feel like I should have been capable of writing this – in three days, no less – but I did. I credit Shane Adams here, as his weekly class lectures on WebEx have been a true goldmine of information – and inspiration – for a harmony beginner like myself.

Anyway, I keep thinking this tune has to be a direct ripoff of some Steely Dan tune I can’t find, but so far it looks genuinely original. At this point there’s just a couple verses and a ‘chorus’ which, right now, sounds more like a bridge to me, but hey it’s a work in progress. This is transposed down a step from the earlier composition, mostly so I can ‘sort of’ sing it (getting some vocal chops back after not singing for so long is proving to be problematic). It’s also sped up a bit from a sleepy 94bpm to a more upbeat 110, which feels just about right. The drums here are Session Drummer 3 with tweaks to the stock rhythms by me. Everything else (but the vocal, of course) is the Kontakt 3.5 sampling synth, and I’m very happy to report that it works just fine with my x64 version of SONAR on Win 7. Nice NOT to have to spend money upgrading that just to get it to work.

When I redo this with a complete vocal and finish this I’ll post an update. It might be a while before I can hire the right horn section and female backup vocalists, but I’m already checking Craigslist…

Those Crazy Eyes (beta) – MP3 – 192kBps – 7MB – 5:07 min.

Those Crazy Eyes
© 2010 Ron Romano

[intro]

BbMaj7 Am7 Gm7 D7#5
Gm7 G#m7 Gm7 G#m7

[verse]

Gm7                          Cm7
Those foggy nights above the bay... so quiet

Gm7                         C7
Until we found each others' hand.

EbmMaj7               Eb°7     Dm7              Gm7     Gm7 Fm7
Three Rings and Garrapata: our private stomping grounds.

EbMaj7                          D7sus4            D7#5
We played the finest mind games  with the time we found.

Our steamy nights above the bay... on fire.
Long laughter. Short, white, sexy lies.
When all that high adventure was threatened by good-byes.
I couldn't look away from Those Crazy Eyes.


[chorus I]

Gm7
Temp-ta-tion lies in Those Crazy Eyes.

F6      Gm7
Walk a- way.

Gm7 Dm7 EbMaj7  Cm7      F7sus4 
Not for nuthin' does the Mother

F7       F6   Gm7
Warn the Son:

              Cm7             D7sus4
Don't talk to Strangers after school.

D7              Gm9       BbMaj7 Gm6/E (or C7)
Don't take that pill just to be  cool.

              Cm7                    Cm6
Look both ways when you step out

    Cm6add9    D7      
But don't look twice - 

         D7sus4 D7#5    Gm
at Those Cra-        zy Eyes.


[chorus II]

Temp-ta-tion lies
In Those Crazy Eyes. Walk away.
Not for nuthin' does the Mother
Warn the son:

Don't let this fall out of your wallet.
Don't be too quick to compro- mise.
Don't argue with Sicilians.
And don't look twice - at Those Crazy Eyes.


[bridge I]

EbMaj7 F7            Dm7  Gm7 Gm7 Fm7
Some   love, it's de-liri-um.

EbMaj7    F7                  Dm7  Gm7 Gm7 Fm7
Magic. Mystique. Slippery oblivi-  on.

EbMaj7                  F7
Cool champagne, diamond ring

F7       Dm7       Bb°Maj7
Might be just your thing.

        Cm7      C7                  EbMaj7
But for some the prize is What's be- hind

      D7sus4 D7#5  Gm7
Those Cra-    zy   Eyes.


[bridge II]

Some love, it's delirium.
Tragic. Intrigue. Aaron and Miriam.
Way too late you find Fate
But it's not the one
That you see there when you close
Those Crazy Eyes.

p.s. yeah, you know who you R__ 😉

Hard Road Down

Audio Recording, Composition, Guitar, Performance, Songwriting Comments Off on Hard Road Down

Been a while. I’ve been getting a handle on songwriting harmony in BerkleeMusic’s BMW-133 Songwriting Workshop: Harmony with (the awesome) Shane Adams. This week was the first I’d actually put something complete together. I’ve upgraded to Win 7, which meant saying good-bye to the Tascam FW-1804 and replacing it with a PreSonus FireStudio Mobile. This is the first stuff recorded with that unit, which – especially considering it’s about 1/10th the size and has almost the same capability – is pretty darned nice.

Harmonically, this tune stays primarily Ionian for the most part, but borrows the Lydian II and the Mixolydian bVIImaj7 at different points.

The verse section uses two distinct “power progressions”: I IV and I VIm IIm V, which are both in the list of Ionians in the book. The second pass through the verse replaces the Ionian IIm with the Lydian II – actually II7sus4 & II7, followed by a V with falling bass.

The chorus uses an idea that’s similar but not identical to the last Ionian power progression in the book – the one with the falling bass line, i.e., prosodically (Shane?) ‘going down’. The progression is IV IV/bIV IIm V I I/VII VIm VIm7, repeating, and ends with bVII IV V.

Sorry if the audio is a little hard to follow and the vocal is a bit strained. I literally wrote, threw it together and rough mixed it in about 4 hours – that’s two acoustic guitars, electric guitar, bass, electric solo, MIDI drum track and a vocal. *pant* It sounded incomplete without at least these parts. Strings and piano will be added later, I’m thinking, and of course this needs about two more verses, another chorus and maybe a modified repeat of the bridge. Right now I’m just trying to figure out where to go with the lyrics.

Hard Road Down – MP3 – 192kBps – 6.5MB – 4:31 min.

Ear Training: Only The Beginning

Audio Recording, Cello, Composition, Education, Guitar, Software, Songwriting 2 Comments

This week is the last one for Basic Ear Training at Berkleemusic – the Spring term is winding down. As I mentioned to my instructor Roberta Radley, it’s been one of the more enjoyable educational experiences I can recall. Matt Marvuglio and Roberta have put together a great introduction to exactly what’s been missing from my own musical endeavors over the decades: a formal understanding of what I’ve been hearing, musically, all my life. Literally: ear training.

We’ve been doing pretty interesting assignments each week in this course – conducting, singing lots of solfege (“do – re – mi – …“) to learn interval relationships between notes in the scale(s) (yes Bob, you told me!), transcribing popular music to understand both rhythm & melody, recording ourselves singing various scales and harmonies, learning the chord and rhythmic structure of “The Blues” and analyzing some basic song forms.

Unlike the other weekly lessons, our final project assignment is one of our own design. Normally the ‘anything goes’ type of assignments kind of bug me, but here at the end of the term it feels appropriate – especially because the last week or so has made it crystal clear what I’ll be offering: a discussion of how ear training helped in the composition of Volo Flamenco and a short analysis of that piece as well as some transcription excerpts.

Basic Ear Training (BME-115) – Final Project

My favorite pastime has always been – and is still – composing music of various forms, which probably sounds silly coming from someone who’s never studied music theory. Until recently, when I began taking cello seriously a few years ago, I’d also never studied a musical instrument, couldn’t read music very well (at all) and generally did everything “by ear”.

One of the many problems associated with being musically illiterate has been the limitation it imposes with respect to (a) making sense of the original music that I hear in my head, and (b) getting it into some form where I and others can actually hear it. The SONAR software program has been great for that, since you can write entire orchestral MIDI compositions using something called a “piano roll” that gives you a graphical representation of the notes (as opposed to the indecipherable notes on a staff for which I have always seemed to have a mental block). But even with that, there’s this timing issue…

The trick for me in writing anything remotely complex is in remembering the melodic themes, accompanying lines and harmonic combinations from the point of inspiration until I can physically get the thing written down or recorded as musical information. The two times I’m most often inspired with a new melody or rhythm are (1) while driving to and from work and (2) when I’m asleep – and dreaming. I guess the common denominator there is “delta state”.

Needless to say, neither of those two activities is conducive to getting a musical idea “written down” in some form – especially when my standard “m.o.” is to fire up SONAR and draw the notes in the piano roll. Also needless to say, a lot of nice melodic themes have vanished into the ether between the time the inspiration hits and the time I can get to the computer.

But now I have solfege.

Do – – Sol Do Sol Le Sol-Fa …

Parallel with Basic Ear Training I also enrolled in Berklee’s Producing Music with SONAR course this term so I could finally, hopefully get beyond just scratching the surface of the software. For the final project in that course I’d decided to create a production based on an acoustic guitar piece I’ve been playing for about a year or so – Volo Flamenco – which you can hear here. Go ahead and fire it up in the background, and I’ll continue. It’s kind of important to hear it in its ‘raw’ form in order to appreciate what’s coming.

The problem was that although I had some ideas, and there’s a literal swirl of orchestral stuff lighting up my brain every time I play the thing, I’d been having a devil of a time coming up with anything that I could actually build into a recognizable theme, let alone all the rest of the stuff I thought should go with it. The problem is the guitar part is very rhythmically dynamic, but it’s just arpeggiated chords. And ‘cool-sounding’ as those chords were, there was no real melody line to speak of. Until there was.

Anyone who’s had ear training can ‘hear’ that heading caption up there: do–sol do sol le sol-fa. It’s solfege for the initial phrase of a melody that was still echoing in my head at 6am last Monday, as I was awakened from a really deep sleep. I’d only gone to bed 3 hours earlier, because I’d pulled another late-nighter trying to find the rest of the music for Volo. Waking up with music still echoing in my head is normally the point where I think, “oh, that’s nice… but I’ll forget it by the time I can drag myself out of bed, get dressed, fire up the computer, make coffee…” And besides, I was on vacation, and not really interested in jumping out of bed at 6am after only three hours’ sleep.

So while trying to fall back asleep, I drowsily resigned myself to losing what sounded like another great theme, as I had in the past. But unlike in the past, because BET has drilled it into our heads for weeks now, without consciously choosing to, I also started doing what I’ve been doing now for a couple months every time I focus on a melody of any kind: I started “solfeging” it. Right away I recognized “do – sol – do” from one of the many warm-up exercises we’ve been doing in BET. That led to a few more notes… and a few more… and finally I had mapped out an entire musical thought, all while still laying comfortably, half asleep.

But the best part was this… I didn’t forget it. Because the inspiration had been translated into information – because I had an actual “sentence” to remember later – I was able to get the melody written down. But it gets better.

When I say “written down”, what I mean is that – for a change – I didn’t open up the piano roll and start drawing notes one-at-a-time, listening to the playback to get it right “by ear”. Instead, because the intervals were already built into the solfege information I’d kind of memorized, and because working through the various BET transcription assignments has helped erase the irrational (neuro-associative? Patty?) response I’ve always had to seeing musical notes on a staff, I was able to go about this in a completely different way, and it’s transcribed here.

I knew the tonic, I chord for this tune was E Maj (to paraphrase my cousin Alessandro’s disdain for the key of C Maj, on guitar, E Maj would be considered the Key of the Destitute) . That made do E, and do-sol-do became E-B-E. I thought hey, cool, I can just transcribe this using SONAR’s handy Staff View, and skip the whole piano roll thing – and that’s exactly what I did. In fact I was able to solfege my way through a lot of the string lines as well, transcribed here and here (please pardon SONAR’s choice of formatting in that first one).

To be sure, there was still a good deal of aural hunting-and-pecking involved – SONAR’s Staff View will enunciate the notes as you drag them around, just like Finale Notepad does, and that’s handy for recognizing accidentals. Also, SONAR doesn’t understand notated slurs, so it’s necessary to actually enter MIDI notes to simulate those; you’ll see these as strings of 32nd notes in the transcriptions (yes, MIDI gurus, there’s a better way to do this… one thing at a time). But even with all that, it’s hard to describe sitting down for the very first time and composing a complex piece of music by transcribing the notes on a staff rather than the functional equivalent of scribbling them in crayon, “by ear”.

Who am I kidding… it’s easy to describe: it was awesome!

I know – musicians out there are thinking, “yeah, big deal – you scribbled out a few lines of music.” To those folks who’ve forgotten what it’s like NOT to be able to do that without thinking, I’ll reiterate the discussion comment I left the other day for Lesson 11, which I’d forgotten about and Lyn reminded me of (thanks, Lyn!). The question was, “How has your music making changed as a result of all this ear training study?” My response: “It’s a bit like hearing Italian all one’s life. It’s a beautiful language even if you don’t have any idea what’s being said. Reaching a point where one just begins to understand what the words mean is … exciting.” I think this timely experience – a complete departure from the way I’ve pursued composition in the past – answers that question.

With all this done, I finally had the pieces I needed to put together at least a rough sketch of what Volo Flamenco will eventually sound like: click here to hear the first two-and-a-half minutes of what will be a seven-minute Allegro for Guitar and Cello. I’m still getting a handle on shaping synthesizer instruments, mixing, and all the rest, so the synthesized solo cello sounds a bit like an oboe, and the whole thing still sounds a little ‘thin’, but this should provide some sense of the amorphous symphony I hear in my mind’s ear, when all my physical ears can hear is me playing this piece on guitar. It’s not James Horner (uhm… I hope), but I think it’s pretty exciting.

When I first registered for Music Theory 101 at Berklee last year, just to see what the school was like, I watched the excellent series of videos recorded during John Mayer’s clinic there. At the end of the third one, after discussing and performing Stop This Train, he says, “There’s information and there’s inspiration, and I could not have written that song if I didn’t go to Berklee School of Music. That is a fact.” When I first watched that I thought it was just hype. It wasn’t, of course, and now I can see that both objectively and subjectively.

Song Form

In terms of the song form – one of the other topics we discussed this term in BETVolo Flamenco is fairly conventional. At least rhythmically. It begins with a 36-measure Intro, followed by an AA section, that is, two similar 8-measure statements. Each of these contains antecedent/consequent pairs of 4 measures each. This first AA section is the initial statement of the theme. That’s followed (after a small explosion effect) by two 32-bar AABB sections which follow the 32-measure form described in our Lesson 10 lecture: “four eight-measure phrases or statements”.

It’s nice that the song structure is pretty conventional rhythmically because harmonically… well, things get a little weird.

The 4-bar phrases mentioned above each have two measures in the I chord (tonic), which is E Maj, followed by two measures in a chord which – as it turns out – doesn’t really follow a conventional western musical harmony pattern. This threw me for a loop, and trying to figure it out in the context of I – IV – V type changes has been an education in its own right.

Here’s the second chord, followed by the rhythm of the arpeggio as played on guitar:

VI Chord Arpeggio

Ultimately, it turns out this second chord is rooted in the type of harmonic style that inspired this piece in the first place: flamenco. After a bit of Googling about flamenco style, I ran across some comments regarding the nature and history of flamenco. The Mojácar Flamenco site was particularly instructive. I discovered that flamenco has a harmonic ambiguity – at least as compared to the standard cadences of western music. I think this is probably due to Spain’s history as a “bridge” between eastern and western culture, having had strong cultural influences at different times from both Europe (España) and Persia (Al-Andalus). That’s a complex and fascinating subject in its own right, but it’s beyond the scope of this project.

The important thing is that this harmonic ambiguity inherent in flamenco style pretty much explains the confusion I had in identifying what I’ll just call  the “tension” chord in the second half of each 4-bar measure of the A section(s). As it turns out, the flamenco F chord is often played in exactly the way I’ve voiced it here. Notably, I originally composed this “by ear” through trial-and-error, not through any sort of instruction or study of flamenco guitar style – very much like the originators of flamenco itself, who typically were not classically trained. Er… like me.

The A sections shift back-and-forth between the tonic and this “tension” chord, which my mathematical left brain wants to call f(F Maj) – the flamenco of F Maj.

The B sections move to the IV7 and the rhythm changes considerably as the chords go from the IV7 to another ambiguous flamenco chord that can be heard as Am or FMaj7, depending on the melody and accompaniment which, as of right now, don’t yet exist. Eventually these will be antecedent/consequent pairs ‘spoken’ by the guitar and cello as a kind of musical conversation. I’m still working on that, as well as the remaining 200-odd measures in the piece. Fertile ground for continuing on with this in Orchestration 1.

Well, that’s about it. Assuming I don’t discover that the theme is actually unconsciously lifted from one of Horner’s Zorro scores, or from some old Morricone score I forgot about (always a danger when running with something one remembers from a dream), I’m extremely happy with it. And I could not have composed this in anywhere near the time I did – if at all – if I hadn’t taken Matt and Roberta’s Basic Ear Training course at Berkleemusic. That is a fact.

Lose Your Lover Boogie

Audio Recording, Composition, Education, Software, Songwriting, Synthesizers Comments Off on Lose Your Lover Boogie

[UPDATE: rant and ‘Loopie’ Groove Clip project added below]

Ok, I got inspired after I started working on one of the Basic Ear Training assignments for week 9 last night and just had to roll with it. I’ve been itching to put my new BMPR-177 chops to some use, and I’ve had these blues lyrics laying around for, like, ever, so I figured what the heck.

These maybe aren’t the best production choices in the world, and blues in C is just at the tippy-top of my very rusty range (next time I’ll knock it down to A), but it came out pretty fun for about 10 hours’ work, total, including sound-deadening my little office/studio.

The assignment was to use a pre-recorded blues bass line to write a melody with form AAA or AAB. Overachiever that I am, I had to do both. And the second one two different ways. With a tempo change. And background vocals. And synth horns, swing drums, a little reverb. You know… 😉

Form is: AAA – {break} – AAB – CCD (?) – AAB – CCD (?).

Not sure if the CCD verses would actually be categorized as “CCD” – they’re different from the AAB ones but they still follow an AAB form of their own.

BTW, this track uses the provided accompaniment bass / drum track throughout, I promise. I just, uhm… “tweaked” it a little. I kind of rolled the drum part off with EQ and sped it up just a ‘smidge’ after the break. Thankfully, whoever originally recorded it did so at precisely 120bpm, which made it very easy to work with.

Lose Your Lover Boogie – MP3 – 192kBps – 2.1MB – 1:28 min.

On the Producing Music with SONAR side, I’ve unfortunately grown a little disappointed. The class hasn’t had near the depth I’d hoped and no one at Berklee seems interested in helping students with the numerous technical issues that always arise when using software of this type. I’ve posted more forum entries as ‘tech support’ than I have in doing actual coursework (I’m guessing readers like Jim, Bill and John can relate).

The course has been invaluable in terms of providing a structured exploration of SONAR 8, and of all the things I’ve learned about myself over the years, structure is an absolute necessity for learning. But in terms of discussing the rationale and/or technical details involved in using SONAR’s myriad features, or covering any of the logic behind, say, when to use a compressor vs. a gate, etc., the lecture content has been far too light for a $1200, 12-week course. Scott Garrigus’ SONAR 8 Power! (at about 1/35th the cost) has far more vital detail. As an example, the assignment for week 8 was to lay out the insert and send effects we’d apply to each track in a 16-track mix (standard pop music instrument array). It would have been great if we’d ever actually covered the rationale behind using specific types of effects on specific instruments, or groups of instruments, but we didn’t (and there’s no prereq that implies this foreknowledge, unfortunately). The exercises in the lecture consisted of “open the effect plug-in and experiment with the knobs and sliders to see how the sound changes,” which wasn’t exactly the sort of instruction I was hoping for. I can “experiment” on my own – what I take classes for is to learn how to do things correctly, and why.

Last week we covered ACID and REX audio Loops – “Groove Clips” in SONAR-speak. Again, we were pretty much left to “experiment” with the functions that control these, rather than being offered detailed information one doesn’t get in a book, but even so some folks managed some pretty creative sounds. The ditty below was constructed from a combination of both types. Scott G. may recognize some of the loops from his Groove Clip Exercise in SONAR 8 Power!‘s Chpt. 9.

‘Loopie’ – MP3 – 64kBps – 200kB – 0:24 min.

Forward Motion

Audio Recording, Software, Songwriting, Synthesizers Comments Off on Forward Motion

Assignments from the last two weeks of SONAR class have yielded positives, I think.

Last week we began to lay out the tracks for our final project, just to get a feel for some of the MIDI elements. I tend to start things at the beginning and work through sequentially, so I put together a very rough pass at the Intro section for Volo Flamenco. This snippet adds just the bare beginnings of percussion and strings – all synthesized via plug-ins, specifically, the TTS-1 and Session Drummer synths that comes with SONAR 8.

Volo Flamenco Intro – MP3 – 256kBps – 2.5MB – 1:21 min.

This week was an overview of sound synthesis, which technically isn’t a huge part of the SONAR course (synthesizers are a course of study in their own right). The idea was simply to understand the various types – additive, subtractive, modeling, sampling, etc. The task I chose here was to manipulate a few existing sounds’ elements – attack, decay, release, modulation (vibrato) – to create new ones. This short bit has tweaked piano, bass and percussion, tied together with a melancholy little melody inspired by the piano tone.

Masque – MP3 – 256kBps – 2.7MB – 1:30 min.

Enjoy!

Who were those guys?

Giant City, People, Songwriting Comments Off on Who were those guys?

Some pics from the old days… CLICK TO ENLARGE

  • A promo band shot (by… Jay Silverman, I think… back when he first started?)

Ron, Bob, Tony, Brian M., Brian A., Jay

  • Another promo from that same shoot. Yes, Virginia, we were a show band. (duh)

clockwise from bottom: Ron, my old bass(!), Jay, Tony, Bob M., Brian A.
Brian M. in the middle

  • Mugging on the job

Brian A., Bob (above), Brian M., Ron (squatting), John, Jay, Tony (above), Dave

  • Giant City Brunch ’06

John, Brian M., Tony, Bob B., Bob M.

  • Ron + Years = …?

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