the perfect sample

I would like to nominate a new thread... just for a short while. I am curious,
because I think that everyone has one of these...

Do you know what I am talking about when I say: the perfect note? You know, the
one note or tiny moment in a song that just sends you reeling? The one that is
utterly, well, amazing. Let's compare those. I think this will be interesting,
plus, let's face it, there are millions of songs to choose from, and really
only a handful of notes.

I'd like to nominate that first long, bent, screaming note in the Neil Young
solo from "Southern Man." It always sounds like confrontation and condemnation
to me. Love it.

DaveX

Dave,

{you wrote...}
>I would like to nominate a new thread... just for a short while. I am curious,
>because I think that everyone has one of these... Do you know what I am >talking about when I say: the perfect note?

This is a great topic! I *know* that I have these, but I can't decide the ones right now. But I also think that what will make it really relevant on the forum is to think about not just that these moments _exist_ but how and why they have the effect on the individual.

I'm perfectly happy to read a collection of the things that move people beyond most expression, but if anyone can give voice to what they think it is that caused that sensation, it would be so much better.

And Dave, wouldn't you agree that the subject line is not really in focus? I'm willing to bet if you only played that one screaming note for someone it wouldn't work, but if you set it back in the whole of the song and led up to it...I bet it would move other people.

In this realm, the realm of the singular moment of wonderment, we paraphrase one of the current mantras: context is king.

Regards,
Jon

> And Dave, wouldn't you agree that the subject line is not really in
> focus?
> I'm willing to bet if you only played that one screaming note for
> someone
> it wouldn't work, but if you set it back in the whole of the song and
> led
> up to it...I bet it would move other people.

This is true, but more so than you think. I also feel that a perfect
sample (and a lot of others) can be used in new contexts, sometimes to
say the same thing, but surrounded by different things-- sometimes to
say a whole new thing entirely.

It would be foolish to believe that the single note brings intensity all
on it's own, but it certainly brings something, otherwise it wouldn't
need to be there. Sampling is the fine art of understanding what the
sample brings on it's own, and what it needs to run contextually.

It is something like a car. A nice old Firebird brings a kickass 455
engine, and some heavy muscle. But.. it needs gas to run. When you
sample, it is like trying new gas with the engine. Sometimes it works,
sometimes it doesn't. You get a working system (car or song) but you
also have to admit that it is something new as well.

To me, that particular note is great because of the intensity of how it
is played (a bit sloppy, but DAMN), the odd quality of the recording
(kind of bad, I think, but it obviously works amazingly well) and of
course, context. At the same time, there are timbral issues that get me
as well. It sounds throaty, almost like a voice of some sort. I like
that a lot. I can't say I have ever heard anyone come up with that
particular sound before. It's definately distinctive.

DaveX

--- In MakeMicroMusic@y..., Dave X <davex@s...> wrote:

/makemicromusic/topicId_312.html#318

> > And Dave, wouldn't you agree that the subject line is not really
in
> > focus?
> > I'm willing to bet if you only played that one screaming note for
> > someone
> > it wouldn't work, but if you set it back in the whole of the song
and
> > led
> > up to it...I bet it would move other people.
>
> This is true, but more so than you think. I also feel that a perfect
> sample (and a lot of others) can be used in new contexts, sometimes
to
> say the same thing, but surrounded by different things-- sometimes
to
> say a whole new thing entirely.
>

I know this could possibly make Kraig Grady vomit... so I will stay
out of his range... but when my buddy Gene Prisker samples the first
big glissando of Stravinsky's _Symphony in 3 Movements_ and overlays
his rap number, it is absolutely *hilarious* to anybody who knows the
piece. Maybe that piece is in public domain by now (I hope), but, in
any case, it's hard to copyright an orchestral glissando! :)

__________ _______ _________
Joseph Pehrson