ThisName
Group: Members
Posts: 307
Joined: July 2005 |
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Posted: May 22 2007, 09:44 |
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| Quote (moonchildhippy @ May 21 2007, 17:54) | | Quote (ThisName @ May 21 2007, 14:21) | | Hey, I didn't realise the analysis was up and running so sorry for my delayed response. What I was hinting at with regards the unsettling harmony near the end of part one is to do with the tritone interval which is present and which was not present in the opening. It gives the melody that we have become familiar with a slightly unnerving quality and is very unexpected. |
I'm don't find Ommadawn unnerving at all, Amarok yes, no matter how hard I try I can't seem to get into it  , maybe as I'd just bought it and tried playing it, hearing it for the first time whilst driving, and in all honesty it scared the crap out of me.
Anyway back to Ommadawn, there's no way I find the Part 1 ending unnerving, it doesn't make me feel anxious or frightened in anyway. Yep It might cause me to shed a few tears occasionally, but gone out for a drive, following an argument ( there used to be a few with my ex husband). I've parked upsomewhere scenic (or as scenic as I'll get round here) and have blasted Ommadawn from the car stereo. That to me is so thereaputic, to release all of that anger  . However if I'm with my boyfriend , (he also likes Mike's music) I feel so happy so peaceful. The ending of part 1 often suggests orgasms to me. Yep I know the mixing desk being covered with Mayfair magazines as Mike was recording it is Rock and Roll history  . Maybe the point I'm trying to get accross is maybe the same piece of music causes different reactions in different people, this can also be affected by a persons mood at the time.
As regards the music theory, it's not something I really understand, I try and play my guitar, but if I try and work out the theory too much I get a bit confused, I know my major chords from my minors, crochets from my minims, quavers and semi quavers, and the notes on the stave read "Every good boy deserves football) and the notes in the spaces spell FACE. |
Yes people do hear things in different ways, and of course, if it is not unsettling to you then that's fine. I think I was also trying to refer to what mike had said about composing it as he has made it clear that it was a really intense time for him emotionally. Perhaps unsettling was too graphic a term, but just a suggestion as to the intention of that ending.
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www.ryanyardmusic.com
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). Thinking about On Horseback is it a happy song or one that Mike conveys a sadness for a lost childhood??? To me it's so happy, but given what I've read about Mike's early years here was a kid/teenager who was forced to grow up fast. To me before I knew Mike's real age I thougth he was about 25/26 when Tubular Bells was released. To me his first three albums show a writing maturity of someone older than 19-22. 