

Liner Notes for Excelsior!
Spelling it Out
Inexperienced at composition, but desiring to learn music theory as well
as grooving practice, I opened the matrix editor of the sequencer programme
(the part where notes are indicated by blocks which indicate their pitch
and duration) and wrote my name, one letter per bar. When I played it,
I was pleasantly surprised that rather than being a dissonant row, it
seemed to have a right old tune hidden in it. So after a bit of tidying
(and some experiments with different voicings and emphases), it emerged
as the profound hit you can hear today.
Each instrument gets a chorus (or verse) and thus a lot of variations
in sound can be realised.
Anchors Gone
This isn't really a new piece. You see, I wrote the tune of Anchors Aweigh
(an old Navy/Royal Marine March greatly beloved of members of my family)
into my cover-disc free cutdown sequencer programme. Then I created a
set of chords and an arrangement for it. Then I threw away the old tune,
slowed it to a crawl and wrote a new melody… so on balance I suppose
it's legit to claim it as originalish.
I like to think there's a touch of the stillness of a harbour after
the ships have sailed away, which has been captured in the tone of this
piece. The water which was churned up and muddied by anchors and propellor
screws has returned to a gentle lapping, with crickets chirruping in the
long grass behind the quayside. After a brief opening statements, some
degree of busyness recurs as the tune is embellished and additional instruments
add their contribution to the message of peace.
Overbite at the Till
I wrote some puppet scripts for a Children's Holiday Club, and the lovely
Theresa Casey and her magnificent teeth (and vast personality) were happy
to record the narrator's part. I kept the master tape, complete with
fluffs, phlegm movement and giggles, and snatched bits to enhance this
track. Once again, I was out on the extreme edge of my technical ability
in achieving this.
The initial statement of the theme drops away, leaving a nicely empty
section. Then the strings return (cheers to the Scratch Amadeus Ensemble
quintet) and finally a picked guitar. The kisses at the conclusion always
do it for me… teaser indeed!
Concerto No 1
An attempt at seriousness, for once. Can you smell the fresh bread, pickles
and blue cheese of the picnic by the river? Birds flit by; clouds dance
through an azure sky; the water tinkles across small stones… Who
am I trying to kid?
Rhodes arpeggios inform long string chords, and the first statement
of the theme. A sonorous piano picks up the tune, finally giving way to
nylon guitar and even more enthusiasm from the strings.
Rhapsody on a Theme by Telemann
Georg Phillipp Telemann (1681-1767) was a rival and friend to JS Bach
in Hamburg, and his theme here rhap-sodised originally opened the second
movement (vivace-moderato-vivace) of his lighthearted Quartet in G major
for flute, oboe, violin, cello and continuo. I first became familiar
with the dancing tune when I was at school, as a chap who rejoiced in
the name of Nicholas Boys Haslam used to whistle it incessantly. Many
years later, I was given a recording of Teleman's Musique de Table, and
there was young Haslam's tune all over it!
Congas and hammond set the atmosphere for this one; they ramble for
a while until the Telemann piece makes an entrance (at 2.24, if you're
counting).
The final statement of that theme is provided by cello, in acknow-ledgement
of the composer's love of that particular voice, as demonstrated by its
featured place in his Musique de Table works.
Lord of the Trance
Hopefully breaking the sense of relaxation created by Telemann, here's
a cynically hard-edged version of the way-too-popular Lord of the Dance
classic of the guitar-tutor book Faith, Folk and Clarity. Random noises,
kicking drums, aggressive keyboard voices and a massive disregard for
style fill our senses.
Please note this cover design for the sheet music reflects the loose drawing style so beloved(?) of readers of the Good News Bible.
Hopefully it's impossible to dance to this, either in a house/rave way,
or with those annoying keep-your-body-still-while-your-legs-go-mental
efforts.
Radiance Radical
A longtime favourite, Felly's waltz deserved a facelift, but I hope I've
kept the heart and soul of the number. Plinky-plonky piano is soon replaced by a more dreamy approach. Jesus
is still honoured (he's still the radiance of the Father's glory, after
all), but the percussionist gets a chance to throw in his two penn'orth.
Garage Funk
Take some processed Garageband strumming and a slightly quirky drumbeat
and add a bit of simple Rhodes, with a standard structure, as befits
12-bar. Nothing new, but toetapping all the same.
Sugar-Free Excelsior
What's in a name? Well, my life became more or less sugar-free two and
a half years ago, so I wanted to make it clear that a similar strength
of will was required to cobble this piece together.
Excelsior is a favourite
word. It refers to the packing material (often shaped like cheesy wotsits)
with which some deliveries are stuffed. However, these days, bubble-wrap
will often suffice.
One or two juicy little jazzy moments here (0.46; 1.00) give way to
some great cymbal work and an exposed bass before the piano breaks in
again with the main theme (2.03). Into half time at 3.35, the theme is
restated a little later. The brief second movement (5.42) develops the
theme a little and then moves (6.29) into a gentler groove.
The third movement (7.45) has a similar feel to the first until (9.16)
it swings away into something reminiscent of O Sacred Head Once Wounded,
but with changes. At 9.45 comes the first exclamation of Excelsior! with
the piano once again taking the lead. Some jazz improvisation follows
(11.11) and at 12.43 the soaring theme re-emerges.
You've Got a Friend
Carole King's great song deserves little more than restatement, so this isn't
a cover version as such but a simple backing track for a heartfelt vocal
(provide your own if you're able). Beware the slight diversion of some
descending chords before the chorus!
Admitting Hoodwink:
a note of honesty about the musicians:
Piano, synths, Hammond organ Andy Back
Drums, percussion Nathan Student
Fretless, electric and upright bass Matt Black
Acoustic & electric guitars Ian Spyrer de Deet
Vocals & overbite on track 3 Theresa Teaser
String Section: Scratch Amadeus Ensemble
violins Róisin d’Boe, Barry O’Large
viola Pete Siccatto, cello Sal Ponty
string bass Spike Balanced
Horn Section:The Brass Monkeys:
trombone M Booshaw, trumpet Val V’rattler ,
alto & tenor sax Smokey Reid
I spent many happy hours under the harsh but fair tutelage of Nathan Fellingham,
learning to play the drums; Matt Black is a pseudonym I've used many times
(get the Breakdown EP); International Band of Mystery and Garrett hero
Dieter Hachenberg once stated that my guitar playing inspired him to learn
the instrument. You already know about Theresa.
String players know that you have to rub gunk called rosin into the
bow to get the best vibrations, that bariolage describes the sound made
by bowing two strings simultaneously (as often heard in folk fiddling);
plucking the strings (rather than using the bow) is called pizzicato;
sul ponticello refers to a bowing technique close to the bridge to produce
a particular timbre or tone; and bowed basses balance on a long spike.
Meanwhile brass players purse their lips against a mouthpiece establishing
an embouchure, trumpeters may often rattle their valves, and saxophones,
while categorised as brass instruments, are played using a reed.
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