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Happy Anniversary


On m'envoie–t–aux champs, c'est pour y cueillir
On m'envoie–t–aux champs, c'est pour y cueillir
Je n'ai point cueilli, j'ai cherché des nids
Au chant de l'alouette je veille et je dors
J'écoute l'alouette et puis je m'endors
Je n'ai point cueilli, j'ai cherché des nids
Je n'ai point cueilli, j'ai cherché des nids
J'ai trouvé la caille, assise sur son nid
J'ai trouvé la caille, assise sur son nid
J'ai trouvé la caille, assise sur son nid
Je lui marchai sur l'aile et la lui rompis
Je lui marchai sur l'aile et la lui rompis
Je lui marchai sur l'aile et la lui rompis
Elle m'a dit: "Pucelle, retire–toi d'ici!"
Elle m'a dit: "Pucelle, retire–toi d'ici!"
Elle m'a dit: "Pucelle, retire–toi d'ici!"
"Je ne suis pas pucelle que je lui répondis."​
 
"Alouette" is a popular French-speaking Canadian[1] children's song, commonly thought to be about plucking the feathers from a lark, in retribution for being woken up by its song.

With much love for everyone here....
 
This song came up on my shuffle playlist the other day, one which I hadn't heard in a long time, and I remembered how much I enjoyed this artist's songwriting.

Which Way Does That Old Pony Run - Lyle Lovett

The songs tells about a cowboy who yearns to ride away on his horse, leaving his old life behind.


Which reminded me of another song about ponies, this one about a man who after travelling around for most of his life, only wished for his pony to take him back home.

Kind of like life in a way, always coming around full circle...

Pony - Tom Waits

 
I've been really digging this song over the last couple of days. It's from a computer game soundtrack. I haven't played the game, but that series is pretty famous for producing great scores to go with it. The below song is an imagining of a Zulu symphony taking place in the industrial age.

Edit: the medieval version is very good too:
 
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The Vaughan Brother's
- Tick Tock-

Hoo Boy,

Man after my own heart ;-)

Tick Tock indeed...



You can't change it
Can't re-arrange it
If time is all that we got
Then baby let's take it
Lovin' is a lovin'
The moment is a-right
It's worth all the years in the past
Let's go one more night
Get away from the blind side of life
Honey I want you to be by my side
Me and my back door moves ain't no more
No more
Get away from the blind side of life
Honey I want you to be by my side
Me and my back door moves ain't no more
No more
Get away from the blind side of life
Honey I want you to be by my side
Me and my back door moves ain't no more
No more
Goodnight my darlin'
Another day has passed
Forget all those painful memories
Our love's gonna last
Come to me baby
Come to me one more time
It's time we got movin'
Time to move on
Let's slide out the door
Let's slide out the door
Ride our way home
Let's glide our way home
Let's go
Let's go
Let's go
Let's go
Let's go
Let's go
I've come back for more


That slow bend @ 2.45 gets me every time....... thank the lord for Albert King :cool2:

RIP SRV
 
There is a line in the first verse of Leonard Cohen's Hallelujah -

"Well it goes like this: The fourth, the fifth, the minor fall and the major lift"

All musicians (and many people) will know that what he is describing here are the actual chords being played in the song at that time.

Most popular music (folk, country, rock) are based around 3 chords that naturally "sound good together" to the ear - the root (or first) chord, paired with the fourth chord and the fifth chord.

To give a simple explanation, think of the root chord being the thumb of your hand, with the fourth and fifth being the ring finger and pinky finger respectively. So, if you are playing a song on an instrument, you can start on any chord and find it's complimentary chords by looking at your fingers,

For example..

Disregarding sharps and flats, there are 7 major chords - A B C D E F and G

So the complementary chords would look like this...

1st 4th 5th
A D E
C F G
D G A
E A B
G C D

and so on...

Understanding this musical relationship, you can play any simple folk song, starting in any key, as long as you adhere to the above formula. It becomes helpful if the song you are playing is out of your vocal range, and by changing the key up or down, the song will be easier to sing and sound essentially the same.

The reason I'm bringing this up is that some musicians think that by making a song more complex, adding a bunch of different chords (diminished 7ths or augmented 9ths - jazz territory), outside the natural 3 chord complementary relationship, automatically makes the song better or more interesting somehow.

But for me, a songwriter who can make a song interesting and dynamic using only 2 chords, is something very intriguing and worthwhile, not to mention quite difficult to achieve. One of the most famous examples I think is "A Horse With No Name" by the band America. Personally, I find this song rather tedious after a while, and becomes a little grating on my ears. Still, it's popular and very well known.

I was listening to a couple songs the other day which I think are good examples of the songwriter's ability to make a simple song sound engaging and varied, even though they essentially use 2 chords - the root and the 4th.

The first one is by Lucinda Williams...


The next one by Bob Schneider...


Now with this in mind, listen closely to the following track by Brett Dennan. It's a lovely song, where he also is mostly relying the first and fourth chords, but adds the complementary fifth chord in only 2 places. See if you can hear when it happens...

 
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The band's name is 21 grammes (the so-called weight of the soul) and the title is "the game of the planets". If I want to share it with you, besides I find it cool, it's because the guy is involved in NureaTv, which gives us a lot of more or less interesting shows.

 
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