A ridiculous surprise
Here’s an amusing little idea Joel and I came up with while talking on the phone. Why did I do this, you ask? Because it’s the internet. Because I can.
The first one to figure out what’s going on here gets … um, actually I don’t have a prize. Sorry. Still, try to figure it out!
If you want the full surprise effect, play the song without looking at the title of the next post, which contains the answer.
Comments
Hmm, it’s very dream-like…
It’s almost like classical played backwards, but I guess it’s music where the notes sort of “grow into being” (can’t remember the name of the effect, sort of like sustain only backwards).
Ah! Wonderful! The very piece with which I began (and ended) my concert career! I’ll wait to hear about the surprise part: Is it mere homage to the second, less-long-dead musician, or did you take notes produced at his hand and somehow morph them?
Either way, it is a retelling that stands on its own. The last couple measures in particular bring up a hand I’ve never noticed, and give the whole a worthy close.
Backwards is my guess, too. Like you performed the piece from end to beginning and then played the recording backwards. I don’t know if Hendrix did this, but I do remember hearing a lot about Zeppelin and backwards Satanist messages. It sounds great to my ears, and I love how it kind of zips to a crescendo at the end.
It sounds like a combination of organ and what happens when a video tape starts chopping, that “mwop” sound. That’s the technical name for it, anyway… It is quite haunting. I can’t wait to hear how this ties in with D’s concert career.
Ya know. I used to think that Jimi was an avatar(reincarnation) of Chopin. Maybe Jimi IS Bach after all!
todd
No, no, Jimi’s analog is definitely Chopin: invented a rich, sophisticated musical language which came directly out of an instrument just coming to technological maturity, and which then redefined that instrument for all who followed.
The better Bach analog might be the Beatles: absorbed, mastered, summarized, and surpassed many musical styles of the time, becoming the primary touchstone for future generations of composers.
And for my next trick, I’ll explain how George Burns is really Charlemagne.