The bridge makes me weep. I sit by myself in my room and cry because it’s so beautiful and it makes me feel so happy.
I’m a very poor arranger–that is, I’m very literal. About everything. I do no “arranging”–I merely transcribe. This makes for bad arrangements that still almost work becuase I choose songs to arrange wherein a literal translation of notes from guitar (or in this case, piano) to voice is marginally OK. Of course, I haven’t run into problems, becuase this is only my second song. Listening to Clockwork and The Idea of North, I coudn’t believe how “simple” their arrangements were. Obviously “simple” is the wrong word, they’re not actually “simple,” but what I’m trying to say is that their arrangements had measures of “ooo” in a chord. You know? I can’t handle that. I can’t trust that my group will get the message (message? maybe what I mean is rhythm? feeling of the song?) across with just “ooo”-ing a chord. So I must have “doo(3beats) doo(3beats) doo(2beats) doo(2beats)” instead of just “ooo.” I have a small feeling in the back of my mind that the simple “ooo” might be more effective, that the “doo(3beats) doo(3beats) doo(2beats) doo(2beats)” will become muddled over time, but I can’t resist the pull of the many-notes-temptation. Also, the verses are in FRICKIN’ 5/4!!! You know, like, “ONE two three TWO two three THREE and FOUR and” and “ONE and TWO and THREE and FOUR and FIVE and” AT THE SAME TIME!!!!!!!!! So I have to emphasize the rhythm. I HAVE to!!!
I’m really ambitious. You’d never know it from the way I conduct my life normally, but I’m in it for the glory.
Yes, the verses are 5 beats per measure. The choruses are 6 beats per measure, except for this one place where it’s 8 (I broke that measure down into one measure of 3 and one measure of 5). And the bridge, the glorious bridge, o magical bridge, reason for my tears of joy, has 7 beats per measure. And the thing after the bridge and the chorus is this indeterminable meter that I haven’t dealt with yet. I think it’s just going to be a 40-beat measure or something. Bar lines are for the weak?
I didn’t even notice the meter thing until I was sitting in Jenny’s house in Seattle pretending to play it on the guitar, and I couldn’t strum with it worth crap. “Oh,” I finally realized, “there’s… AN EXTRA BEAT! OH MY FUCKING GOD!!!” And then I told other people, who also said they hadn’t noticed. directdk sampled this one song in Japanese that’s 5 beats per measure, and in that one you can really feel the odd meter. But that’s because “ONE two three FOUR five” is more easily noticable as “odd” than “ONE two three TWO two three THREE and FOUR and.” (I’m unsure how to get the meter business across to you. Obviously I’m not *really* counting “beats” in “ONE two three TWO two three THREE and FOUR and.” The real beat two comes on the “three” of the “ONE.” And the “THREE” comes on the “real” beat four. Oh god. Never mind.)
Derek told her I was arranging it. HAHAHAHAHAHAHA. Also she’s heard of DeCadence before. She was in the Harmonics for a year.
Also, after I got the rest of the group to listen to it, some fell rabidly in love with the song who had never heard of Vienna Teng before. Carolyn sent me a text message (she has never sent me a text message before, ever) that said, and I quote: “I luv that song! Cant stop lYstenYing 2 it! Aah!” And then Chris came up to me and said “So, I’m interested in knowing, what other songs are you arranging? Becuase the others you have arranged I really, really, really, really liked.” “Had you heard of Vienna Teng before?” I asked. “No, but I have her CDs now…” What better way to introduce 13 (give or take) other people into rabid frothing fandom than to arrange a song? Hello Guster.
Must… get… it… on… CD… will… kill… for… this… purpose… (porpoise?)…