 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
||||||||||||||||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
||||||||||||||||||||
 |
 |
 |
|
||||||||||||||||||||||||||||
 |
 |
 |
|
||||||||||||||||||||||||||||
 |
 |
 |
|
||||||||||||||||||||||||||||
 |
|
||||||||||||||||||||||||||||||
 |
 |
|
|||||||||||||||||||||||||||||
 |
 |
 |
 |
 |
|
||||||||||||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
||||||||||||||||||||
 |
 |
 |
 |
 |
 |
|
|||||||||||||||||||||||||
 |
 |
 |
|
||||||||||||||||||||||||||||
 |
|
||||||||||||||||||||||||||||||
 |
 |
 |
 |
|
|||||||||||||||||||||||||||
 |
|
||||||||||||||||||||||||||||||
 |
|
||||||||||||||||||||||||||||||
|
"Watchpork" _________________________________________________ "Watchpork" was originally composed in mid-2009 while auditioning new vocalists for Sky Eats Airplane. It is one of three tunes that I wrote during this time. Longtime followers may remember me mentioning this after my solo in my TRX Cymbals Demo video. The title is the word 'patchwork' with the 'p' and 'w' flipped around, an allusion to the B section, which sounds like various parts of songs sewn together. "Watchpork" also sounds quirkier and more Zappa-esque than "Patchwork", haha. Oddly, I formulated the piano part that comprises the A sections first and then wrote the drums. I wanted to try to make 4-4 sound utterly indistinguishable. There are some fairly dense polyrhythms here; at one point, the drums are playing 16th-note quintuplets (the kick drum is locked with the piano) split between the kick drum and pedal hat, while the hands (accompanying the harpsichord) orchestrate 8th-note triplets (full-on and broken), 16th-notes and 16th-note septuplets on top. The constantly-changing time signatures in the B section were inspired by Marco Minnemann's "Isn't It 01?", although I went in a different direction, melodically, with the 'patchwork' concept. Being a drummer, I was probably predisposed to write a tune with a 'drum feature' in it eventually, hah. The C section is such, with no real motifs explored or repeated, but an assemblage of crazy licks and tuplets, etc. Thus, the inclusion of accompaniment by the bass and harpsichord to ground it; I play off of these instruments on occasion with some proper grooves and some 'metric-modulated' grooves, but they're pretty quickly abandoned. A piano melody peeks in every five bars and the drums complement it in varied ways. The bridge starts off slow, with groupings of 2, 3, 4, and 5, then immediately jumps to 10, followed by two groups of 12. It slows down at a comparable rate, but explores two other tuplets in the process: 9, 7, 5, 3, 1. An abbreviated reprise of the A section closes the tune, but with the drums now keeping a common backbeat, [hopefully] conveying that said section is indeed in 4-4. There is a longer delay (by a quarter note) before the 11-tuplet and then my silly song is over! Thanks for reading. |
||