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Rostosky has just fallen in love with Christi Haydon.
And who is Christi haydon? you may well be asking yourselfs.
well, she is the drummer on this video of the Band "sparks" who I mentioned are still going great guns.
Here is an odd and sad factoid: the original drummer for sparks was "dinky diamond" a shy and gentle dude indeed. He had the "neighbour from heck" he could not sleep, and he and his wife had complained to the council, and were about to move house, when one day, this drummer could not take the noise anymore and hung himself in the attic, his wife found him.
Here is sparks with number one song in heaven and never turn your back on mother earth, the latter one of my favourites.
Rise like lions after slumber,in unvanquishable number. Shake your chains to earth like dew which in sleep has fallen on you. Ye are many,they are few. Shelley
Fantastic postings from everybody in these last days!
I wanted to post about “fandango”, an ancient Spanish dance. Many composers wrote versions and variations on this popular dance. Probably the most popular is the “fandango” composed by Boccherini for his Quintet in D Major G448.
There are several versions on Youtube, but I’ve chosen this video because the rendition on this “fandango” is fantastic, and shows beautiful images from Goya’s paintings.
Don't take this the wrong way but thanks for posting garbage, Rossy!
Is this Shirley again? Love her right foot!
'Fandastic', Recaredo, love the castanets! I was thinking about hanging some off my hat, like an Australian cork hat setup, so I could play them at the piano by shaking my head. Wha'd'ya think? Should I patent the idea? Do you think it would catch on?
I'll be cooking filet mignon, homemade mashed potatoes, salad + yeast rolls for dinner. Griffin, appropriate music, please?
(not that I didn't enjoy previously posted, esp. the "excellent wind")
Such a lovely menu P.J.!! I think there should be some tasteful trumpet music to get things off to a nice start. I recommend this Trumpet Concerto by Michael Haydn. Consider this your first course for dinner music!
Sorry about the bespectacled knight on the joanna. Notes have been taken! (That doesn't mean I won't push him on the juke box again, it means I'll post with caution.)
As compensation, or for those with a few spare minutes, or even just looking for something to read while listening, here's some Science on Sunday to entertain.
After the explosion of Rock'n'Roll in the fifties and the rise of the electric guitar and the back beat, all the big names disappeared for various reasons and left a gaping hole.
Buddy Holly was killed, Carl Perkins nearly was, Presley was drafted, Check Berry was jailed, Little Richard found religion, Jerry Lee Lewis had to lie low, and in the UK Gene Vincent and Eddie Cochran had one taxi ride too many. Rock 'n' Roll was dying.
Apart from the Big O and Phil Spectre there was very little of musical interest (like the gap between Bach and Mozart). The twelve-bar three-chord-trick was still around but the I-vi-IV-V was all pervasive with it's doo-wop equivalent I-vi-ii-V.
And then, in the northwest corner of England there came a new sound...
Soon the names of individuals at the top of the charts would be replaced by the names of groups, but more importantly, with new music. The Beatles joined pop to Rock'n'Roll and gave us what we now call 'Rock'.
Like Bach and Beethoven before them, they are of their time. Their like never can, and thus never will, be seen again.
After a storming UK hit with She Loves You, making use of a ground-breaking progression, I-vi-iii-V, their characteristic whoops on the dominant and its ending on the major sixth, it is still The Beatles' biggest selling UK single.
And then came the song that brought America to its knees. I Want To Hold Your Hand used the progression from She Loves You and twisted it to I-V-iii-vi. How on earth do you get back to tonic from this? To understand how ground breaking this was, try playing both songs to a standard G-Em-C-D progression and see how bland (and fifties sounding) they become.
For the bridge in I Want... instead of moving to the sub-dominant chord they actually modulated to the sub-dominant key of C and offset the standard I-vi-ii-V into ii-V-I-vi, Dm7-G7-C-Am. They repeated this up to the C and just when you think it's going to fall to Am again, it rises to D major, the dominant of the tonic G!
It's so compelling they repeat it, C-D-C-D, and then linger on the D with a shuffling 6th. This is so exciting they used it for the intro hook. The anticipation of and return to tonic is captivating. (A similar though small example of the Beethoven 7th symphony I posted a few days ago).
And once again The Beatles actually craft a finish instead of relying on a lazy fade-out. True performers!