Posts Tagged ‘#12string’

Death is nothing new.  My father died of cancer when I was – well, to be honest, I do not really know. mid-twenties? early thirties?  How can a person be talented enough to write beautiful music and still be so lame when it comes to anything important?  I am not sure, but my family has had to deal with me for a long time.  My parents were divorced for years and I did not know him that well.  At the same time, I felt like I had known him forever.  He was never there through the most difficult times In my life and yet at the same time he never left.  Reading about loss of a loved one on other blogs it is clear many people do not feel that way.  The loss is real, it is crippling, it never ends and there is no comfort for the emptiness, no magic words.

I KNOW that wasteland.  Years later my younger sister died from a freak drowning accident.  I was prepared for the death of my dad (and grandparents, friends and distant family members before him).  I shared his love of life and his regrets during that brief time.   For my sister I had no defense.  I did not dwell on death, but if I considered it, it was almost a guarantee she would outlive me.  Surrounded by close family and friends I just started crying.  Talking, greeting, consoling, hugging, but through it all I cried.  I could not share her love of life or future dreams.  I could not speak to her of death; she was gone.  I thought we had so much more time left.  For days if I saw her picture or heard her name; I cried. Even this far forward I had to mentally prepare to write this intro.

Not long ago, my younger brother had to pay his pleasure tax.  Years of drinking and smoking caught up  and throat cancer started eating away at him.  The funniest and kindest guy you would ever know, he did not want to burden anyone with his problems.  I did the best I could to let him know he was not alone and did not have to go through that by himself.  We spent a lot of time together in those last few months.  As his medical power of attorney, I followed his direction.  I understood his desires and knew his demons.  Some things are still too painful to think about so I don’t.  But I do remember what a great human being he was.  We cried many times together and apart.  These days I smile thinking about him, and how great humanity can be.

Love is another type of loss but for all my education and experience over the years I could not tell you which loss is more devastating.  Family you live with and know all the cool things you learned and shared together.  A loved one you will never be able to learn and share future things with.  Loss of the past or loss of the future.  The wasteland seems to keep spreading out forever.  You will never get through it and nothing can replace it.

In the middle of the wasteland jumping all the way up to the moon seems more likely than getting through to the other side.  But it is the sense of loss that keeps us there.   My father is still with me, telling me “remember the past, but look forward, son.   Don’t blind yourself to the path out, seek it”. Hopefully, you will see that your loved ones are still with you.

This is a fairly recent song.  I happened to be going through my files to build a catalog of songs I have, songs in the works and ones I have co-written for a project.  Looking through papers here and there, rifling through files saved from one form of media to another, I found a set of lyrics entitled “Lost Love”.  I looked at it for a while and started reading the lyrics.  I did not recognize any of it, but it was my handwriting and as you will soon see, it is very personal.  I read them and thought,   I need to do something with this.

I have instruments in almost every room in my house.  A week earlier I had been playing a chord progression that was simple but captured a certain feeling or mood that I liked.  I ran upstairs and got the lyrics I mentioned.  I played the guitar with the lyrics in front of me and started to sound out where the lyrics fit in the progression.

Thinking the music and lyrics fell together beautifully, I went to my studio to lay down a rough version of the song.  I used one microphone and recorded the guitar and melody line.   This is “Lost Love“.

https://itunes.apple.com/us/album/dark-energy/id962943592

Reels of Tape”        (c) 1982 MSK 

Reels of tape feel no pain

Watch the movie over again.

Life pours past the flags unfurled

Crack the crystal paralyzed world.

CHORUS: I’ve been told if you live in the future,

You’ll be who you wanna be.

But I ain’t moving to San Francisco

‘Til it drops into the sea.

Careful surgeons with knives of rust

Open wounds of crimson lust.

Forget today and tomorrow.

Leave this song behind, and all it’s sorrow.

CHORUS: I’ve been told if you live in the future,

You’ll be who you wanna be.

But I ain’t moving to San Francisco

‘Til it drops into the sea.

First things first, but think about it twice.

Follow those who take their own advice.

Wasn’t trying any other time.

I’d walk away mumbling a Few Shattered Lines.

CHORUS: I’ve been told if you live in the future,

You’ll be who you wanna be.

But I ain’t moving to San Francisco

‘Til it drops into the sea.

Reels of tape feel no pain

Watch the movie over again.

Life pours past the flags unfurled

Crack the crystal paralyzed world.

https://itunes.apple.com/us/album/dark-energy/id962943592

This is one of the original acoustic tunes that’s featured on my new album “Dark Energy.” You can find it on ITunes or CD Baby under Michael S. Kennedy.

As I continue to dig into past songs it is easy to see one problem I have;  I am not good at naming my songs.  Sometimes I go for the punch line, but the punch line is not even a line in the song!  Sometimes I try to highlight one phrase, but ignoring conventional songwriting wisdom, I do not use a phrase over and over in the chorus and call that the title.  So here is another example where the names have changed over the years.  Originally the title was “A Few Shattered Lines“.  I was reading a letter from a friend of mine at college and I pulled some of his phrases into the lyrics. Below are the results.

Reels of Tape has a deep meaning for me.  I spent a lot of years recording on reel to reel tape decks.  I still have my original 4 track TEAC machine.  The lyrics are more abstract than other songs I have written and for some reason I can still slip back to those times when I hear this song.  I am using my Ovation Balladeer 12 string guitar as my standard writing/recording instrument over the years, and I just love the tone and the progression of the chords.  The twelve strings just sound so full, and when using open tuning, it can make the chords sparkle.  The other quick observation: I don’t get rid of equipment I buy…… I keep it forever!

The lyrics seem to create images that expand beyond the words.  Familiar topics can do that sometimes when looked at with a different point of view or even a change in mood.  I love – Life pours past the flags unfurled, Crack the crystal paralyzed world – and other parts, but I could not really tell you why.  Another phrase that sticks with me is – Forget today and tomorrow, leave this song behind, and all it’s sorrow.  a lot of my lyrics have a rather dark perspective.  But behind them all is a sense of hope and a promise that things will get better and improve.  I am one of the most optimistic people I know!

https://itunes.apple.com/us/album/dark-energy/id962943592

Recording as an acoustic tune, I use one track for the vocals (unless there is a harmony track) and I use another track for the ‘line out’ from the acoustic/electric guitar, and then I use another track for a microphone placed in front of the 12 string (even here, it is important to place the microphone at the ‘sweet spot’  to get the best tone.  Placing a microphone in front of anything without testing will more often disappoint rather than delight.  As in other posts, I have had better success if I literally stick my head up to the instrument and move back and forth until I get the best sound.  Doing this while playing the instrument is not practical, so I place the microphone, record, listen and compare it to other tracks that use a different microphone position.  Once you have the best of the best, you can be pretty safe using it again.  Live situations with full bands and instrumentation is a challenge and I still try to stick my face in there to get an idea what that instrument sounds like but also if it is close to other instruments, speakers, or unwanted noise makers.  Most vocalists will stand in front of the microphone, but even in this case if they lean or tilt one way or the other it can dramatically affect the final tone or sound.  Much of this is tied to the proximity effect and we will get into that later. For the most part I will pan the 12 string guitar line out to hard Left and the microphone for the 12 string hard Right.  Vocals go in the center, unless you have more than one vocalist or lead singer.  I use very few processors like compressors, gates, limiters, and the like.  As long as you start with a solid tone a bit of EQ if needed, bring in some light reverb or delay and the mix is done.

When I was listening to music in my early years, it seemed very natural for me to sing along with the songs I like or new tunes I heard.  I did not realize until years later that what I was doing was harmonizing with the melody, rather than duplicating it.  This was probably my first gateway into music creation.  I seemed to have a knack for developing harmonies.  Rhythms and timing also came to me without me understanding what I was doing.  Some people play sports, some are good at math, and some are builders.  I just seemed to feel comfortable with music.  My mother was in theater, radio and music and I have already blamed her for a lot of exposure to performing arts while I was growing up, so I will continue to do so!

The human voice is an amazing instrument.  There is nothing like it.  I know that I am not a powerful vocalist – I simply do not have the pipes it must take, but fortunately that did not stop my love for singing.  As I sang along more and more, I got better at finding the notes that would enhance or decorate the melody line.  I never tried to over power them, but to add to them.  Sometimes a song only needs a phrase or two highlighted by harmonies or echoing the melody.  Other tunes seemed to inspire harmonies throughout the song.  Eventually I would hear the melody in my head and sing along creating harmonies.  I could not begin to tell you how to create each note while singing… there are no manuals for this.  There are lessons to be learned and great teachers or vocal instructors, but the basics are not easily put into words.

When it comes to instruments, there is a certain amount of knowledge and practice involved in understanding where the right notes are and hitting them at the right time.  Just knowing the right ones to play are not enough as you have to know when and when not to play them.  I bring this up because a lot of musicians talk about jam sessions or getting together and without a lot of details, start playing new themes and using ideas from other musicians to create and have fun.  My point here is that I was never that comfortable simply bringing my instrument and jamming with others.  I do feel comfortable with harmonies and if asked to add percussion or drums, I could fit in.  But for me playing guitar, keys, bass, flute, sax, etc. without practicing and knowing what I was doing ahead of time is difficult.  Many of the musicians I worked with were absolutely great at this.  They were great at bouncing musical ideas off other players and coming up with gorgeous textures, themes and tonal landscapes.  I have a few early examples of jams and creative sessions I would like to offer here from time to time.

LOVE/HATE Challenge

I’ve been nominated to complete this challenge by several of you and after some convincing from my daughter, I’ve decided to give it a go. Instead of nominating 10 more bloggers, I would like to ask you all to post your favorite things in the comments so I can get to know you better.

I want to take this moment to thank all of you again for your very kind and encouraging comments. I have truly enjoyed reading your blogs and getting to know you better. Thank you for being a part of my journey.

Here it goes…

Love:

  1. Writing and recording music
  2. Biking
  3. Photography
  4. Nature – in all it’s glory and mystery
  5. Family and friends
  6. Reading great books, poetry, stories
  7. Creative music – artists and performers
  8. Teaching and helping others
  9. Science, education, discovery and truth
  10. Finding solutions to difficult problems.

Hate:

  • Wasting natural resources
  • Thinking that money makes you special
  • Personal and corporate greed
  • Things that should, but do not work
  • Violence
  • Thieves, scammers and swindlers
  • Demanding people
  • Bigots
  • Liars
  • Corporate and government politics

Once we simplify the 12 notes and we are now able to find any Major scale very quickly  (if you only did the exercise to find the other Major scales a few times you would see this is really easy….) and we can continue to explore the Major scales for other Keys.  This is the foundation of the musical theory pyramid.  It is important to understand how we get to the Safe Seven.  No, you do not have to memorize every note in every scale, although ultimately that will help a lot.  For now, try digging in and go over the Major scale for each of the 12 notes a few times.  As you play the new Major scales, sing (or hum!) the Do Re Me song along with the notes you are playing.  (tip for the day; as you hum each scale from the new starting note, you are changing keys!)

When we look back at the Safe Seven article, I showed a simple connection that I will repeat here:

C    D     E     F     G     A     B     C

1     2     3     4     5     6     7     1

There is a lot of math in music and music theory.  But instead of confusing things and making you change from your creative hat to your thinking hat, I find the math connection actually simplifies the confusion.  It allows me to see the connection the various notes have.  Personally, I HEAR and FEEL music more than I THINK it through.  I have friends that can convert and spit out scales, keys and modes as easily as some of us use Pandora, Spotify or I-Tunes to change a song.  I am really amazed at their skills, but that is something I am not all that good at.  But you will see how easy it is to understand the art and the science by following these posts.
If we look at the Safe Seven for each Major scale, we can make an easy conversion (or universal language) for describing note or chord progressions for ANY Major key.  I know, I keep on harping on the Major scales, but the others will be really easy once we have this understood and comfortable with the Mystery of the 12 and the Safe Seven, so let’s keep going.  For those of you new to this blog, I have no formal training and I am self taught.   I can assure you I am no genius.  If I can get this, so can you.  I just hope to make it a bit easier for you if you are just diving in or curious about how this fits together.

Knowing now that we call the first note the Root, and the same note higher or lower on the keyboard are called Octaves, we will begin a simple conversion;  Root = 1.  Each note in the Safe Seven can be represented this way by assigning it a value of 1-7.  We just assigned Root = 1, so moving up is easy.  In the example above, C is the Root so C = 1 and continuing the scale, D = 2, E = 3, F = 4, G = 5, A = 6, B = 7 and the octave is again the Root or 1.   Each Major scale can be represented the same way.  Use the Whole, Whole, Half, Whole, Whole, Whole, Half system to find the Safe Seven and then assign each to their corresponding number and we can stop talking about note names!  As we get more into chord structure and progressions, this will also come into perspective.  But let’s not get stretched too far.  Play with these exercises a few times a day and we will build our solid musical foundation quickly.  I will also go into the names of the notes as they change keys and this can be confusing to many until you see the method to the madness.

“QUIET NIGHTS” (c) 1976 MSK

INTRO: Quiet Nights, I sit without lights,

Then what I play, accompanies me.

Accompanies me.

I’m a man of refined habits,

But not refined too much.

I’m searching for the spirit

While I find the touch.

Locked inside no prison

But can not call your name.

Outside your rock tree garden

Where silent lovers came.

Mourning come and shed no tears

For those they should have saved

While rocks beneath the water

Become tombstones for the grave.

INTRO: Quiet Nights, I sit without lights,

Then what I play, accompanies me.

https://itunes.apple.com/us/album/dark-energy/id962943592

Much of my early years I had tons of energy.  Like most people my age, I got up early and stayed up through the evening.  Unlike most, I got a bit extreme with this and as I started working I seemed to be able to handle the after hour and evening shifts quite well.   Staying awake for 24 to 48 hours at a time was almost normal.  I obviously was not!  As most of the household was quiet and recharging their internal batteries, I would pull out my 12 string guitar.  In the very late and dark hours, I would reflect on the day(s) past and go over experiences I or friends had.  The fullness of the 12 strings (when I could afford to replace the old strings with new ones…) for me is just an amazingly soothing and inspiring environment.  The guitar noodling started to reflect a mood and the experiences would turn into words, phrases or thoughts that I would repeat and refine until they started to gel into lyrics.

I would use this method over and over.  Alone at night, lights out and everyone quiet or sleeping.  Even now, decades later, this is still my favorite time to reflect and create.  If you can, find your own time and environment that you can settle into quickly.  If you cannot find the time – MAKE it.  It does not have to be hours at a time.  Rarely do we write a masterpiece or complete a painting or poem in an hour or so.  The important thing is to set aside time – even little bits – and noodle, sketch, sing, or even think.  Build your stage for creativity and perform there as often as you can.  The masterpieces will create themselves…

Quiet Nights – An original tune I wrote based on this idea.

https://itunes.apple.com/us/album/dark-energy/id962943592

Recently I was asked in comments (The Observer) if a song I posted was recorded at home or in a studio.  I replied but thought I might expand on that a bit and also introduce another version of “The Pleasure Tax”.  As my brother and I got older we kept writing poems that were now almost always designed to be lyrics.  We got better.  Instead of playing the bongos, I played the toy organ I mentioned and everything else from there.  Here is where I get to also blame my parents again.  For Christmas we all got cool toys, but many of mine seemed to be music makers; recorders, tiny piano ‘tinkley’ toys, little ukuleles and eventually guitars with plastic strings and a drum set that was made for a three year old, but you get the point.  So we got better and we played instruments and my brother started playing guitar as well.  We had more toys to create music so when we wanted to record them (I was probably fourteen or fifteen by the time recording was a possibility) we wanted to add the various instruments and record them all together.

Through the years, we met other musicians and became great friend – or as I seem to recall – we met great friends that were also musicians.  Eventually there was a central core of serious song writers.  Sometimes there would be around eight or ten core writing members.  It would seem there was a competition going (and there always was!) to write the coolest or most clever or the most groovy song.  And we would have friends that would stop by and jam once in a while or would write lyrics and were willing to turn them over to a group of people that would fit them , with force if necessary, with a musical arrangement, melody line and harmonies.

The rambling link to all this is when we often played a collection of each other’s songs, we more than likely played with different performers supporting a few core members.   Those were exciting days!  One time you would sing the song and the lead vocalist was not there.  So you let an ‘orbiting member’ do the vocal melody and you sing the harmony part.  Most of us played instruments and sang – especially if we wrote the song as you can guess – so if the lead vocalist also played guitar, we filled in as a ‘core member’.   On one visit or jam session you performed and sang your song all by yourself to the group.  In other visits you were surrounded by full instrumentation and a choir of vocalists!  So here is an example of all that tied into a version of this song by a full band I toured with.  You heard us play live to an audience in Texas when we played the original song “Our Bodies Move” posted earlier.  We also played other original songs and snuck them into our sets.  One of them was “The Pleasure Tax”.  We called ourselves The Personal Touch.  Ric and I were a duo and when we decided to add a female vocalist as recommended by a booking agency they decided to sign us up for out of state gigs.  We got some studio time when signing up and we performed some original tunes and some cover stuff…. done The Personal Touch way.  “TPT” by TPT!

So this is rare original song of mine that was recorded in an actual studio.    We are a trio and there was a studio drummer.   Everything else is The Personal Touch with a very new vocalist.

SCN_0001

Having written songs with my older brother from the beginning, I often bounce ideas at him to see what comes back.  I remember (and take all of this with a grain of salt as I am not the best at chronology or details!) going up to him and saying something like… “I have this idea for a song and not sure where it goes, but I keep thinking get out of here leave me alone take it away, and that they want to charge us for anything.  Soon they will sell us air and water”.  Below is the result.  I called it The Pleasure Tax, and it is more relative today.  And yes, they do sell us air and water now!

I am very picky about tuning and tones used.  Putting new strings on your guitar was sometimes a luxury.  When I finally did it is like turning on a light bulb in a dim room.  Yes, you could see before but now you can even read!  Music can be like that.  Things are not inspiring or do not sound very good and you change the strings (or reed, drum head, pads) and BAM!  You want to go out and play it hard!

The tax is still out there, so be careful when you want to relax.?

https://itunes.apple.com/us/album/dark-energy/id962943592

“THE PLEASURE TAX”  © 1981

Music by Michael S Kennedy          Lyrics by Michael S and Charles D Kennedy

Intro:

Take it away………… The Pleasure Tax  4x

Verse 1

Take it out, or take it home.

Take it back, it hasn’t grown

Take it away or leave it alone.

Say what you want, or hang up the phone.

Chorus

Put new strings on your damn guitar.

Make it simple, but play it hard.

He says he likes it I don’t know why.

We don’t understand but we’ll give it a try.

Verse 2

Hit the road or face the facts.

There’s something that your system lacks.

The very next time you go to relax,

You’ll go down from the Pleasure Tax