Desolation Row?
Inagaddadavida?
Crossroads?
Richard Huggins wrote:
Trivia Question:
What BIG pop hit of the 60's also would not make a cut-off of 7 minutes?
(No fair looking it up! (:)
Richard
From: David W. Fenton [EMAIL PROTECTED]
* Only exception: if a song is over 7 minutes long,
Alice's Restaurant was 70s, but MacArthur Park (only the album version,
though -- the single was shortened)
Noel Stoutenburg wrote:
Richard Huggins wrote:
Trivia Question:
What BIG pop hit of the 60's also would not make a cut-off of 7 minutes?
MacArthur Park, and Alice's Restaurant...
Richard Huggins wrote:
[snip]
against playing singles of greater than three-and-a-half minutes' length.
The accompanying album A Tramp Shining was one of the great pop LPs of the
1960s, a sophisticated and extraordinarily well-produced concept album
(which owed a considerable debt to Sgt.
Very interesting! I happened to see what he had to say about You Know
My Name, Look Up The Number and I wonder what any of the Beatles
themselves would think of his analysis -- I know that it certainly was
way more involved than I ever considered when I heard the song. But in
typical
On Sunday, June 15, 2003, at 08:30 AM, David H. Bailey wrote:
Very interesting! I happened to see what he had to say about You
Know My Name, Look Up The Number and I wonder what any of the Beatles
themselves would think of his analysis -- I know that it certainly was
way more involved than I
At 12:26 AM -0400 6/15/03, Darcy James Argue wrote:
Just thought I'd mention, while I was trying to figure out which
came first, MacArthur Park or Hey Jude, I stumbled across this
site, which features really excellent, in-depth analysis of every
single Beatles tune ever recorded, done by
best guess is that John and Paul just intuitively gravitated towards
this stuff. They found these structural relationships interesting
for the same reason that a lay listener might find them interesting,
without being consciously aware of what's going on, or able to
describe it in technical
On Sunday, June 15, 2003, at 10:37 AM, Andrew Stiller wrote:
best guess is that John and Paul just intuitively gravitated towards
this stuff. They found these structural relationships interesting
for the same reason that a lay listener might find them interesting,
without being consciously
on 6/15/03 7:47 AM, Darcy James Argue at [EMAIL PROTECTED] wrote:
My best guess is that John and Paul just intuitively gravitated towards
this stuff. They found these structural relationships interesting for
the same reason that a lay listener might find them interesting,
without being
Friends,
I accidentally sent this to Darcy and he kindly notified me of my mistake.
on 6/15/03 7:30 AM, Darcy James Argue at [EMAIL PROTECTED] wrote:
Hi Doug,
[Dunno if this was another unintentional off-list post or not, but if
not, feel free to repost our conversation if you like.]
On
David H. Bailey wrote:
Alice's Restaurant was 70s, but MacArthur Park (only the album version,
though -- the single was shortened)
Sorry, David, Alice's Restaurant [the song] was copyrighted in 1966;
Alice's Restaurant the movie (cf: The Internet Movie Database
Me:
I did an analysis of You Won't See Me some years ago which I
presented at the Western New York chapter meeting of the AMS. I was
able to account for every note of the piece without referring to
chord progressions at all, and I will never believe that the
structure I unearthed was
Folks,
It's interesting that Hey Jude and other Beatles tunes are being
discussed on the Finale List. The SMT List (Mus Theory) has been on
the same track for over a week. I suggested that Lasso's chanson Bon
Jour Mon Coeur begins with the same progression as the Hey Jude
vamp. I raised some
On Sunday, June 15, 2003, at 08:30 AM, David H. Bailey wrote:
Very interesting! I happened to see what he had to say about You
Know My Name, Look Up The Number and I wonder what any of the
Beatles themselves would think of his analysis -- I know that it
certainly was way more involved than I
On Sunday, June 15, 2003, at 05:04 PM, Andrew Stiller wrote:
Well sorta, but all he does is put the voices up there w.o doing any
real analysis. What I meant was that Pollack always seems to assume
that the harmony in a given song was created by generating a chord
progression, the internal
Harold Owen wrote:
Folks,
It's interesting that Hey Jude and other Beatles tunes are being
discussed on the Finale List. The SMT List (Mus Theory) has been on
the same track for over a week. I suggested that Lasso's chanson Bon
Jour Mon Coeur begins with the same progression as the Hey
At 08:30 AM 6/15/03 -0400, David H. Bailey wrote:
Of extreme interest, though is the VERY sweeping copyright notice:
Copyright © 1999 by Alan W. Pollack. All Rights Reserved. This article
may be reproduced, retransmitted, redistributed and otherwise propagated
at will, provided that this notice
Curious, I never met anyone who really liked the song.
Tim Price
Fairlee, VT
MacArthur Park
This song is legendary as regards many things: it's length, that actor
Richard Harris was the artist, and, of course, the unending curiosity and
discussion about what the lyrics mean. (Someone
From: timothy price [EMAIL PROTECTED]
Curious, I never met anyone who really liked the song.
Tim, I'm Richard and I like the song. (extends hand and says it's nice to
meet you) Now you have.
Along that line, here's a quote for you, taken from his web page
http://www.jimmywebb.com:
The late
Hello all
Something I encountered the other day on a project, my customer asked
for a rough recording of the work I have been doing for him. It is a
standard wind band arrangement, including percussion. For clarity sake
I always notate the snare drum and bass drum on the same part - a 5
Richard Huggins wrote to Timothy, about MacArthur Park, about which Timothy had
written:
Curious, I never met anyone who really liked the song.
Tim, I'm Richard and I like the song. (extends hand and says it's nice to
meet you) Now you have.
I'm Noel, and I like it too; maybe it's a Texas
Just wondering if anyone knew of any websites or whatnot that would
automatically hyphenate English words? Might make transcribing lyrics
easier -- just type them in straight, submit them for hyphenation, then
copy them into Finale. Or can this be done with a word processor?
Hyphenate all
Boy, wouldn't that be wonderful. I think the hyphenation features of word
processors just deal with end-of-line hyphenations when using justified
margins (or something like that...)
But I think songwriters and engravers would be the only ones needing ALL
multi-syllabic words hyphenated. But if
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