my ukulele progress

[ripock]

That reminds me of the corny joke I heard when I was a kid: What kind of salad is preferred by honeymooners? Lettuce alone.

 

[Patty]

That reminds me of the corny joke I heard when I was a kid: What kind of salad is preferred by honeymooners? Lettuce alone.

Even cornier is the one about the kids in the garden peach who felt the call of nature … lettuce turnip and pea

 

[ripock]

and I shudder to imagine how rapeseed oil is made.

 

[ripock]

and I shudder to imagine how rapeseed oil is made.

I meant how it is a petroleum product to be used for diesel engines and yet they bottle it as canola oil and put it on shelves because it beats butter in a statistic or two.

 

[bbkobabe]

It's CANOLA... Canadian oil low acid. Turns out calling it rapeseed oil didn't score well in the market research poling.

Since our minds are all in the gutter already, I offer this:

I think I mentioned this before, but at the end of the poetry block that I recently taught to my 12-13 year old Seventh graders the ONE poem they all remembered WAS:


By the sewer she lived

And by the sewer she died

The police said it was murder

But it was sewer-cide

Actually, a lot of American culture is geared to the 13 year old mentality, if you think about it.

Which is fine if you are 13... It's the fact that many people here STAY 13 forever concerns me.

 

[John Colter]

There was a young man from Moss Side,

Who fell down a toilet and died,

His unfortunate brother fell down another,

And now they're interred side by side.

 

[ripock]

since everyone can see that I am more concerned with playing my own music, I am really concerned with things like the rudiments of theory and with metrics since I need to make my own lines of rhythm. Something that interests me is if we could take the music of the limerick which you all have been adducing and create something serious with it...or at least something non-limerical. It seems that the limerick is so hard-wired that you couldn't use the form in another context. Because of that I am very much attracted to the idea of trying to re-purpose the limerick's cadence.

 

[ploverwing]

I am very much attracted to the idea of trying to re-purpose the limerick's cadence.

Heck, yeah! Keep us posted!

 

[Renaissance-Man]

since everyone can see that I am more concerned with playing my own music, I am really concerned with things like the rudiments of theory and with metrics since I need to make my own lines of rhythm. Something that interests me is if we could take the music of the limerick which you all have been adducing and create something serious with it...or at least something non-limerical. It seems that the limerick is so hard-wired that you couldn't use the form in another context. Because of that I am very much attracted to the idea of trying to re-purpose the limerick's cadence.

Everyone knows of the rhythm, "shave and a haircut - two bits", used as the note timing for a popular song ending. Bo Diddley even used it as a strum pattern. Many song rhythms are based on train track syncopation. John Cash's Folsom Prison Blues is one example. Have you ever played in a drum circle? Most of the common djembe rhythm patterns evolved from African dialect cadence. BTW, drum circles are as much fun to participate in as ukulele group play-alongs.

 

[ripock]

I have a Lil Rev book of licks and it has a whole section on Shave and a Haircut. Now I just have to find it. I haven't looked at it in years. I never thought of Diddley's Clave strum as connected to Shave and a Haircut, but I can see it now that you mention it.

 

[Voran]

Oooh, limericks! Can I join in?

There once was a woman named Leah

Who suffered explosive diarrhea

The village did flood

Under miles of butt mud

People drowned in it up to their ears

 

[Voran]

My sister once asked me to record something for my nephew's birthday...I came up with 2:

Happy birthday to you
Dead cold marble, lips are blue
You died of a drug overdose
Happy birthday to you

The other was:

Happy birthday to you
Little green men have taken you
Metal probes up your bottom
Happy birthday to you

Needless to say I don't think I've been asked to record anything for children again

 

[ripock]

Aren't you from Limerick? Usually the name-sakes of things are not the best examples. For instance almost anyone makes Buffalo hot wings better than Buffalo. But your Limericks were an honor to the birthplace. I have always liked

There was a young lady named Sally,

Who enjoyed the occasional dally.

She sat on the lap of a well-endowed chap,

And cried "Sir! You're right up my alley!

 

[ripock]

I found my Lil Rev book under some rolls of paper towels in my closet. The riff is fairly easy. It is just the intervals: I, V, V, VI, V and then the chords V7 and IΔ. I didn't like the two chords, so I switched to the II and the I notes. So with that we have a II, a V, and a I, the basis for some good jazzy progressions. And I used the dominant diminished scale to further the song. And I stuck to the F#ø, B7b9#5, and a Em.

 

[Renaissance-Man]

I found my Lil Rev book under some rolls of paper towels in my closet. The riff is fairly easy. It is just the intervals: I, V, V, VI, V and then the chords V7 and IΔ. I didn't like the two chords, so I switched to the II and the I notes. So with that we have a II, a V, and a I, the basis for some good jazzy progressions. And I used the dominant diminished scale to further the song. And I stuck to the F#ø, B7b9#5, and a Em.

Hey, thanks for that! I tried Rev's suggested intervals, and of course they were a bullseye. But, it's too sterile. For my ears, I prefer playing the single notes, with a slide up from the flat to the root. I gotta have the slide in there.

 

[bbkobabe]

Just strum a 1-4-5 to get a feeL for then limeric pulse:

duh da da duh da da duh da da (on C)
duh da da duh da da duh da da (on F)
duu da da duu da da
duu da da duu da da (both on G)
duh da da duh da da duh da da (on C again)

Simple to start out with but we're off to the races now!

Here is an original l wrote for my students:

There once was a ghoul from Sonoma
Who was dead - or at least in a coma
It said "Do not stare...
Lot's of old creatures there"
But you couldn't believe the aroma

Sonoma Valley seems like a land of vampires sometimes. No one ever dies: They all appear hyper-annuated and they just keep on hanging around and mucking the up the local politics forever and ever.

Amen

 

[ripock]

I found my Lil Rev book under some rolls of paper towels in my closet. The riff is fairly easy. It is just the intervals: I, V, V, VI, V and then the chords V7 and IΔ. I didn't like the two chords, so I switched to the II and the I notes. So with that we have a II, a V, and a I, the basis for some good jazzy progressions. And I used the dominant diminished scale to further the song. And I stuck to the F#ø, B7b9#5, and a Em.

I made an adjustment. Instead of ending with a II and then a I, I switched to a VII and I. I was just wasn't remembering the song correctly and I had the pitches moving in the wrong direction. And if all the Roman numerals is Greek to you, I'm playing E, B, B, C#, B...D#, E--since I always play in E.

 

[Patty]

Here is an original l wrote for my students:

There once was a ghoul from Sonoma
Who was dead - or at least in a coma
It said "Do not stare...
Lot's of old creatures there"
But you couldn't believe the aroma

A bishop of old Japan
Used to bugger himself with a fan.
When taxed with these acts,
He said, “It contracts
And expands so much more than a man.”

 

[Voran]

Aren't you from Limerick? Usually the name-sakes of things are not the best examples. For instance almost anyone makes Buffalo hot wings better than Buffalo. But your Limericks were an honor to the birthplace. I have always liked

There was a young lady named Sally,

Who enjoyed the occasional dally.

She sat on the lap of a well-endowed chap,

And cried "Sir! You're right up my alley!

LMAO I like this one

 

[ripock]

What I have been doing is working with the shave/haircut motive. Since I play in E, that's EBBC#BD#E. I have been avoiding the final E because it is the resolution of the phrase. I stop on the D# which is the leading tone to E, but I then disrupt the resolution by various ways. I'm not sold on any of the methods.

1. Move from the D# to a 7-3-6 which is a darker version of a minor 2-5-1. Patently that's just a D#-G#-C# progression with a clave rhythm.
2. Move from the D# to a dive-bombing D#dim7 arpeggio
3. from either #1 or #2, transition into some dulcet improv with the dominant diminished.
4. big finish starting on the E @ the 16th fret fret and ending with the D# on the 18th and the E on the 19th fret. That's why I always insist on 19 frets for my ukuleles. I like the highest note to be an E that I can easily slide up to for a high-note resolution.