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Current revision as of 21:02, 28 September 2010

America, I love you, but you're breaking my heart. via misc

Oh yeah, by the way, we're still at fucking war

The song of captivity, Doctor Who 4x03

Somebody To Love

This scene from the film Alchemy is the biggest musical feature in the romantic comedy. The song needs to keep the momentum going, capture the whimsy of the situation, and also capture the whimsy of the actor, who is wearing a bad Frenchman disguise. The actress is a little confused about whom she should be dating, and in this montage, she can be seen enjoying the two suitors vying for her affection. The scene ends with a return to the composer's score and a rather excited suitor making a less than subtle move.

2/11/10 - Monster MIDI Pack Straight 4/4 Song 03 167 BPM Hats Closed Variations 03

1. a b a a: Deceptive I just carry on With all that still remains Between midnight and dawn As if yesterday's gone

2. a a a: Unexpected I just carry on Between midnight and dawn As if yesterday's gone

"War doesn't prove who's right, just who's left."

iron corrodes concrete crumbles wood decays

Generally speaking, the Way of the warrior is resolute acceptance of death. -- Miyamoto Musashi, 1645

It's lonely, every night when I think of you The dark comes, when I remember the hopeless truth In my dreams you come and kiss me And you tell me that you love me And it's alright Just a small step past reality Right now I need this fantasy To last the night

Everywhere I look is you Everywhere I'll be with you Everywhere I'm holding you

1. Closed: a b c a c She never bends, she breaks She's rigid to the bone Drama is her peace A word is all it takes And all the love will cease

2. Open: a b c a b She never bends, she breaks She's rigid to the bone Drama is her peace A word is all it takes If only I had known

1. a b a a: Deceptive I just carry on With all that still remains Between midnight and dawn As if yesterday's gone

2. a a a: Unexpected I just carry on Between midnight and dawn As if yesterday's gone

I'm on a vision quest To find what I do best A labyrinth of lessons learned I've labored long 'round every turn I'm finding liberation is not different from a guess

I'm on a vision quest to find what I do best a maze of lessons learned I've labored long 'round every turn

Jet Engine a heavy whir, the ground beneathe my feet shakes, the air moves around me and my jacket flaps. I'm afraid I might lose my wallet from my inside jacket pocket. A deafening hum grows louder. It's accompanied by a high pitched ripping of the air. There's a sense that this is a precursor to something else. Something bigger is about to happen and I must protect my ears. Inertia will be broken. Resistance

Handshake he can't make eye contact. I'm concerned that he won't be able to see my hand coming for his because he's not looking. I wonder what I could be doing that is helping him be uncomfortable or is that just the way he is. What can I do to empower him? I clasp his hand and soften my gaze, even looking away a bit. I'll meet him where he is. "Nice grip", I say. And he looks at me. His eyes are curious and I smile at him. He smiles back.

1. Write a balanced section using sense-bound, interesting language. Slip in a metaphor for good measure, if you can.

A window pops up on the screen The message makes me blush Her phrases shine through this machine She keyed and stroked a crush

2. Unbalance your balanced section by rewriting it using an odd number of lines.

A window pops up on the screen The message makes me blush Her phrases shine through this machine To help escape this office scene She keyed and stroked a crush

3. Unbalance your balanced section by rewriting it with an extended or shortened last line.

A window pops up on the screen The message makes me blush Her phrases shine through this machine She keyed and stroked a heavy crush

4. Change the feel of your balanced section by rewriting your last line in a triple rhythm, or, if you've written your balanced section in triple rhythm, decelerate it by rewriting your last line in duples.

A window pops up on the screen The message makes me blush Her phrases shine through this machine She keyed and she stroked a new crush

5. Change the feel of your balanced section by rewriting it using an imperfectly matched line in closing position.

A window pops up on the screen The message makes me blush Her phrases shine through this machine Key strokes shape a crush

6. Unbalance your balanced section by rewriting it twice, once with a deceptive rhyme scheme and once with an unexpected rhyme scheme.

A window pops up on the screen The message makes me blush Her phrases shine through this machine And help escape this office scene

A window pops up on the screen The message makes me blush Her phrases shine through this machine Her words turn me to mush She keyed and stroked a crush

7. Unbalance your balanced section by rewriting it with a weaker rhyme type in closing position. You may go as far as you like, including consonance rhyme.

A window pops up on the screen The message makes me blush Her phrases shine through this machine I'm bitten by the drug

8. Unbalance your balanced section by rewriting it using any two (but not more) of the above techniques. Say which ones you used and what effect you think they have.

A window pops up on the screen The message makes me blush Her phrases shine through this machine Her words turn me to mush She keyed and stroked a crush

I unbalanced the section by using an odd number of lines and an unexpected rhyme scheme. The final line creates prosody by spotlighting the word "crush" which supports the unbalanced feeling of having a crush. The extra line also supports the idea of a crush being something you want to hang on to.

9. Unbalance your balanced section by rewriting it using any three (but not more) of the above techniques. Say which ones you used and what effect you think they have.

A window pops up on the screen The message makes me blush Her phrases shine through this machine Her words turn me to mush She keyed and stroked a heavy crush

The same as above (8) except I also extended the last line which further supports the word "crush" and its tipsy feeling of something you don't want to end.

10. Which version of your section (1-8) supports the emotional intent of your idea best? Explain why.

I think version 9 (even though the exercise says choose between 1-8?) supports the emotional intent of my idea best for all the reasons I stated above. I'm not crazy about having the stress on "this" in the third line but I kept it because I liked the alliteration and I couldn't turn it any other way that worked in the time that I had. I think the first line is exciting and has some action which pulls me in. I like the sound of the last line (k and s) and the supporting imagery of "stroked". The unexpected rhyme scheme also supports the unexpected instant message.

A window pops up on the screen The message makes me blush Her phrases shine through this machine Her words turn me to mush She keyed and stroked a heavy crush

Give me just a second My instant message beckons I won't wait a minute Let's push it to the limit

With this contrasting section, the chorus, I tried to convey the fast motion of instant messaging and the rush of chatting with a lover. I accelerated the speed by shortening the lines. I created contrast by changing the rhythm, the line length, the rhyme scheme and type of rhyme (feminine). I also balanced this section to contrast the unbalanced verse.

Empty Tri folded flag

the game is rigged and we're rigged to play it. We're rigged to play the game that is rigged

No compromises

Coming to the lord You've got a real good coming to the lord a coming

New covenant ... Fear Lord how did we get here

He said follow the new covenant but you still cling to fear Lord how did we get here

Not anymore

The more things change, everything stays the same Everything changes, everything stays the same

iPhone 4 Gelaskin

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