Frank zappa apostrophe rapidshare

Streams Videos All Posts. My Profile. Advanced Search. Apostrophe ' Review by Steve Huey. Track Listing. Don't Eat the Yellow Snow. Frank Zappa. Nanook Rubs It. Alfonzo's Pancake Breakfast. Father O'Blivion. Cosmik Debris. Excentrifugal Forz. Includes all 9 songs that have become classics of the Zappa legacy:.

How do you express a love so big? First, let me say, that I am honored and grateful for the opportunity to try. At the tender age of seven, my father introduced me to the music of Mr. Frank Zappa by giving me a copy of the recording of Zoot Allures. It had me singing, dancing and laughing my ass off.

Once my giggling subsided, I remember feeling like I was in on a secret. Don't eat that yellow snow Australia , opening transcription. During the years Zappa experimented with irregular note strings to be played as fast as possible.

The title of "Approximate" refers to this and the score of this song compared to the live performance shows how it worked. II section. The band had to follow the rhythm and the direction of the string, but the individual pitches of the notes were left at choice.

I can't absolutely proof that this is also happening here, but that this is the case is quite obvious. In bars 1 and 6 the band members are following the same movement but with different chromatic notes.

These bars get repeated, but not identically. The recording is not bright enough to notate everything per player. It's transcribed by approximation with the notes reasonably audible in it. The band members play it chromatically, beginning on different pitches. It's totally atonal with harmonies being created at random, but the pattern comes out clearly. The descant players end with a note during up to a whole note.

This space is filled in by the bass and drum. It's a different version of the above example regarding the chords and bass line. Other than above, the directions of the bass and chords are played parallel.

This is done to let the riff turn into a vamp for the remainder of the song, while on the "Apostrophe ' " CD the riff is the core of the song. It's tuned down with Zappa speech-wise singing the lyrics, much shorter than on the "Apostrophe ' " CD. Above to the right: cover of Don't eat that yellow, pop music wisdom, a collection of painted quotes from various popsongs by Marcus Kraft.

It became a best-seller. In most of "Nanook rubs it" a bass riff of two bars is used as a vamp. As the song progresses short guitar solo comments and an interlude "no, no, I can't see" pass by. The vamp is used at length in the live version on "You can't do that on stage anymore, vol. I", where it is accompanying the pouncing and poetry reciting event. Nanook rubs it, opening midi file. Nanook rubs it, opening transcription.

The basis of this transcription is by Andy Aledort, published in , Hal Leonard series. His scores are arrangements for guitars. For my midi file I made some adaptations on it: - Inclusion of the bass part. Andy normally doesn't transcribe the bass part, but indicates it here as a D m7 and B9 chord alternation. Apparently this is a convention in the Hal Leonard series. Maybe you'd need to resort to quarter tones as well. This appears to be another convention in the Hal Leonard series songs are notated in major or minor, also when the actual scale is modal.

Since the E is always played natural I've notated no E sharp in the presets the key is then modal, D sharp Phrygian. Alfonso's pancake breakfast" begins with an instrumental intro portraying the fur trapper's journey through the tundra, heading for the parish of St.

It ends with Zappa commenting "yes, indeed, here we are", which makes it clear it should be interpreted in this manner. Next phrase one from the verse begins as shown above sample from the Apostrophe guitar book. Characteristic of the verse are the little instrumental interruptions of the sung part, like in the second bar from the example above. These can contain chromatic elements. She expresses how Zappa pushed the right buttons by writing pieces like this, exactly what she wished to play.

Next she evolves about the 2-chords he prescribed for the harmony, contrary to the more usual triads in this study these chords can also get called 9th and 5th chords respectively.

Alfonso's pancake breakfast" on "Apostrophe ' ", leaving the harmony chords out or mixed to the background where I cannot hear them no more. The same happened to "The black page". Apparently Ruth liked the presence of these chords in Zappa's music a lot. In the "Roxy by proxy" CD liner notes she continues as "[ Zappa does indeed use sus2-chords - and sus4-chords - more than average. To mention some instances of sus2-chords from my study: - "Peaches on regalia", bar 7.

Some more on this subject in the Zappa in New York section at the Black page 1 with Ruth's piano version of this piece. She started working with Zappa as a percussionist on "Uncle meat".

In she joined the Mothers as a steady member, taking her marimba with her on the road. Zappa already had used vibes and similar percussion instruments for playing lead melodies, and with Ruth in the band for five years, the relatively uncommon marimba grew out as a trademark of Zappa's instrumentation during that period.

Next are the closing bars of "St. Alfonso's pancake breakfast", segued by the opening of "Father O'blivion". Both are complex songs on an album that mostly is accessible, that is to say for Zappa standards.

They contain constantly changing themes, meters, rhythms, keys and tempi. The example discussed here is based upon Andy Aledort's "Apostrophe ' " songbook, who got commissioned to transcribe all of this album thus including the solos. Alfonso part of the transcription: - Bars the ending of the so-called "Rollo interior" section see also "Rollo" from the Wazoo section. A highly irregular melody.

It does use diatonic material from various scales, but without key notes. The bass keeps moving freely with a counterpoint line and virtually nowhere traditional chords are formed. The rhythm however is constant: an ongoing stream of 16th notes. As the sheet Ruth is holding during the DVD shows, everything is prescribed, thus also the bass line sample to the right.

Alfonso", forming a transition to "Father O'blivion". Continuation of the last example: Father O'blivion part: - Bars instrumental opening in E Mixolydian with a guitar lick.

It gets joined with a second lick in bars The first guitar lick stops, the second lick now gets accompanied by the bass. Father O'blivion, chorus and interlude transcription. The example above is from the middle of "Father O'blivion", a sample from the Apostrophe guitar book.

Most other parts include syncopes or strings of 16th notes. It begins in E. It gets followed by a little interlude using a Latin type of rhythm. It has a syncope between beats 1 and 2, while beats 3 and 4 are off-beat. At this point the song is in F Dorian. It includes a standard blues guitar solo. The scores of all songs from "Apostrophe ' " are available as the Apostrophe ' guitar book from the Hal Leonard series. As already mentioned, the transcriptions are done by Andy Aledort, who earlier transcribed "Hot rats" as well.

Sample from the Apostrophe ' guitar book with the opening lick from "Cosmic debris". The opening lick is in C Dorian, as is the guitar solo.