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*”BASIC CHORDS”*
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*”CHORD CHART”*
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*”THE SCORE”*
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*LINKS*
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(1:4)
(F#major)
(84bpm)
INTRO:
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(riff: F# C# D# F F# C# D# F)
(2 measures of B)
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(bass: F# (Bb D#) C# (F) B (F#))
VERSE:
[(F#) (C#6) (C#) (C#sus2) (C#) (B) (Bdim) (B) (Bsus2)] x 2
(closer and closer and closer and closer…)
(tiptoes touching…shoulders rubbing…)
(harder and harder and harder and harder…)
(need an army…suit of armor…)
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(always…say what i mean…mean what i say…)
(C# D D#) (F#sus2) (F#)
(mean what i say…)
[(F#) (C#6) (C#) (C#sus2) (C#) (B) (Bdim) (B) (Bsus2)] x 2
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(C#6) (C#) (C#sus4) (F#sus2) (F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# (F) F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# D D# (Bb) F#)
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EIGHTY-8
SLOW DANCE
ONE HITTER
PAUL’S BOWL
BLUNT
PEANUT BUTTER
(4:4 / C#major)
(87.5 bpm)
(or half-time 175bpm)
PART 1:
“eighty-8”
[(C# C#sus2) (Adim A A Amaj7) (A6) (F#sus2 F#maj7) (G#)] x 2
(C# C#sus2) (C#) (B Bsus2 Bsus4 Bsus4 B Bsus2) (Adim A Adim) (F#7) (G#sus2 G#)
(C# C#sus2) (Adim A A Adim) (F# F#6) (G#6 G#+ G#sus2 G# C#)
(bass: C# (F) A (F#) F# (Bb) G# (C ) C# B A (F#) F# (Bb) G# (C ) C# (F) A (F#) F# (Bb) G# (C ) C#)
PART 2:
“hardball”
[ [(C#) (C#sus4) (C#)] x 2 (C#sus2) (F#6) (F#) (F#msus2) (F#m) ] x 12
(bass: C# (F) F# (A))
PART 3:
“slow dance”
(1:4)
(F#major)
(84bpm)
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(riff: F# C# D# F F# C# D# F)
(two measures of B)
[(F# F# F#6 F#maj7) (F# F# F#6 C#)] x 2
(bass: F# (Bb D#) C# (F) B (F#))
*SLOW DANCE*
[(F#) (F#) (got) (F#sus2) (the) (C#6) (C#) (C#sus2) (C#) (B) (rub) (Bdim) (ing) (B) (Bsus2)] x 2
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(C# D D#) (F#sus2) (F#)
[(F#) (C#6) (C#) (C#sus2) (C#) (B) (Bdim) (B) (Bsus2)] x 2
(Bdim) (D#m) (B C C#) (D#m Dm C#)
(C#6) (C#) (C#sus4) (F#sus2) (F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# (F) F#)
(bass: F# (Bb) C# B (F# D) D# (Bb) B C C# (F) D# D C# D D# (Bb) F#)
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*👨🔬🕵️♀️🙇♀️*SONIC EXTENSIONS*🙇♂️👩🔬🕵️♂️*
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🤖☠️🛡♞⚔️🛡ENSEMBLE🛡⚔️♘💀🤖
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(‘JANUARY 2009’)
(@ “THE UNDERSCORE NYC”)
(‘riff’ on drums)
(‘ames’ on bass)
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(‘THANKSGIVING 2014’)
(@ “burning tree’)
(arv on drums)
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*V3*
(‘FEBRUARY 2017’)
(@ ‘arv cave’)
(arv on drums)
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(***BACK TO “SLOW DANCE” (LIVE)***)
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*SOLO*
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and those showboats running…
(composed from several song sections in spring 2008)
this is a song that was pieced together because my songwriting output was becoming too fast (and i needed a good umbrella to capture all the pieces)
it’s a compilation of 5 song sections:
‘lady of the night’
‘Wind-Up’
‘Closer’
‘McFadden’s’
‘More Beer Please’
Socrates said: “Music Is Sex”
(after I inquired as to how well ‘the ladies’ had been treating him…)
Music as woman / Composer as man / Creative Process as sexual intercourse
Transition from major chord (I root) to major chord (minor VI root) is inherently unsettling to the human ear…
Write in all keys (tonal exploration)
I was only free to develop my music when the sun went down…
(an artist in corporate shackles)
(charged with “failure to connect with the masses”)
(sentence: rescind daylight-hour music privileges)
Alternative options:
Community Service (“teach the children”)
Indentured Servitude (“coffee bean dispenser”)
jesus Lady Of The Nighttime
(dark where no light shows…)
livetype animated lyrics
(plain jogajungle white on black background)
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*JANUARY 2008*
Liliana Rose
(7 years ago) damn, you are “on to something.” i LOVE this song. i’m sad it just ends though 🙁 don’t end song…come back!
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“SHABBY DEE”
(both in ‘F#major’)
“MONA”
(both in ‘F#major’)
“THE KING OF NUMBERS”
(both in ‘F#major’)
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👈👈👈 ☜ *“SMOKE + MIRRORS” (THE CHRONICLE)*
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*“DANCING WITH THE STARS” (THE PLAYLIST)* ☞ 👉👉👉
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💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥