This video is incredible erplaning why the more you listent to Zappa's music, the better it gets. The cohesion between the whole work along the yerars makes you go back and re discover the music over and over again. 12 years have been since i've first listened to Once Size Fits All, and I still get the same feeling over and over again for this music.
During the mid seventies and up my friends and I had memorized about three album,because We Were All Bozos on The Bus..all of us had Ralph Spoilsport down.Betty Joe Bialaski oh you mean Nancy.Nick Danger Third Eye,
Around the 19:00 mark, when subliminals were being discussed in Zappa's use of similar passages in songs throughout his catalogue, I immediately though about Firesign theater. They were geniuses at subtle running gags across albums. One of my favorites was the phone conversations from different sides when a man was trying to order a pizza and accidentally called Nick Danger, where you eventually hear both sides of the conversation. But if you didn't make the connection, you wouldn't get the joke. Brilliant stuff. "They never come into the hills..."
Were all Zappa freaks into Firesign Theater? Just an odd thing to see this comment...my dad, born in 1950, was one of those original "freaks" or whatever and is also the only person I've ever known to reference Firesign Theater. And he was really into it, apparently; he and his friends, like, _memorized_ those skits. There's some kinda Firesign Frank crossover here!
@@floofytown I had friends from work in the 70s who introduced me to Firesign. They would hold whole conversations just quoting the material. So what’s all the brouhaha?
@@floofytown This is because the Firesign Theater, as comedians, had alot of similar qualities as Zappa. For example, you always can find things you didn't notice before upon subsequent listenings. Always new things to discover. For example, nothing against Cheech and Chong, but there's only so much there and you can only listen to it so many times before it gets tired. Firesign Theater's stuff is so dense, that you sometimes don't get it right away.
This is now my favorite channel on RUclips. So glad I found it. I guess I’m late to the party. Thank you for all of your hard work. Im a long time FZ fan and musician and appreciate your analyses so much.
I just marvel at the thought of what Frank would be able to achieve with today's modern hardware and technology, he would have created something brand new that nobody ever heard before that's for sure
Why do you think one particular Zappa record " which one are you referring to ? " was valid and not all the others..do you understand the premise of this video and what Frank was saying is that all his music should be taken as a whole? what exactly is your problem with the rest of his music ?@@musaka2022
I already knew this. Ok no I didn't. It's information like this that deepens my appreciation, fascination, and respect for Frank Zappa. It seems the depth of the content well is never there.
Not a hipster flex, but I knew this. I love FZ with a depth of music appreciation that is hard to express, I love videos like this because it helps me feel less alone in my bizarre experience of the world. The channel host guy gets it, and that fact gives me a sense of para-social community, and therefore comfort. Join us! ❤🎉😂
After 40+ years of playing, some college study in classical music (guitar), and years as a professional musician, I am just now starting to feel I’m pretty good in 4/4. Sheesh. Wish I were smarter. Oh well, I enjoy what I do, and that is truly what matters, so I hear.
Yeah no matter what my internal clock seems set to 4/4, I can keep track of the beats and phrasing naturally without any thought, but I need to focus hard to play in other time signatures and will keep slipping back to 4/4 if I get too brave with improvisation.
Great audio examples of polyrhythmic time, xenochrony, and for finding a simple way to relate it all back to his specific views on cosmology and metaphysics.
Never took music class serious, now I am struggling on reciting the circle of fifths and learning how to use FL Studio to compose/produce music. Everytime I listen to Waka/Jawaka, I get goosebumps and emotional. Especially towards the ending.
Dude absolutely love the part where you basically explain how Zappa's synclavier days were like. Seeing that process makes so much sense considering how Civilization Phaze 3 sounds
This is an incredibly brilliant analysis and wonderfully presented. It should be required viewing. Repeatedly. At least annually. Oh, if the world could simply experience and think about such things, rather than the idiotic flotsam and jetsam that passes for 'information' these days. Alas, thinking is not only rare but a perishable skill. A treasured memory of my teenage years was discovering (and devouring) Uncle Meat for the first time. For some time prior to that, I'd been depressed (I did say 'teenager', after all). In a single sitting, I managed to go through a large Sicilian sheet pizza and play through the whole (double) album enough times that I'd destroyed the grooves in the record (I did purchase another copy). The upshot was that I emerged from that session with a perspective on life I hadn't had and a realisation that there was so much more 'out there' than my bullshit problems. Of course, that event also transformed my own musicianship, which had been well under way by that point, and that got me into many musical (and life) experiences I would otherwise not have done. Long Live Maestro Zappa. Cheers!
Would it please be possible to treat your videos like research papers and articles by placing some of the references in the written description? I am sure I am not alone when saying that sometimes searching out Zappa critique is like pulling teeth and it would be so useful and enriching to your output. Thanks for everything you do Chanan. Brilliant to have a resource that focuses on the music and not the Zappa lifestyle/smutty lyrics.
This is a great video! I would consider myself as well-versed in Zappa's music (and interviews) but this is a very good distillation of what FZ meant by time.
Hello, at the 13:37 time mark you are showing the G page. But I don't think you have it quite right. The Duration column is how long the note on the keyboard is held down for. It sounds like you are trying to say it starts .07, .14 ms later than the previous note.
I love your videos man, you are dead ass smart. Thank you for artuclating so well complex ideas which bring us closer to understand in depth what the fuck did Zappa do.
Wow, how much work went into this?! Very impressive. It could've done with slower narration; lots of words and not all common-day ones, either. And therein is my 'issue', I think. Whilst it's impressive, it's very academic... at a very granular level in places. I guess you framed it and put your thesis inside. I get worried that it redresses events and meanings, adds more, leaves out others, and feeds it back into academia, which then, over time, rewrites history using academically-dense words Zappa never even used. And whilst that can easily impress us, as fans and viewers, because we believe he should be recognised and remembered, it also makes it difficult to pushback and just say, "Leave it alone mate - just let it be". Because we are biased. That's difficult to write, knowing the care and attention that was poured into this. There were some very interesting breakdowns and visuals and I'm glad I watched it, so please don't be discouraged.
Very well said! I chose to read through your comment because I agreed with you about the narration pace, but you ended up mirroring my exact thoughts on the other issues you mentioned. Nothing for me to add because you said it all quite eloquently. I think your assessment is fair and very well grounded.
I had to pause this phenomenal video to go get some weed. My sober mind puts up too many limits and resistance. Now I kinda understand Zappa's rhythmic contraptions. No one did it like Frank. He stayed true to his Vision. Great job
that is a great overview,underview and innerview of his time concepts....he considered most see time as being linear...like a string that runs from the left and goes to the future on the right...timelines have conditioned the human mind this way....but if we take that same string and look stright down it it appears as a dot where all time can be viewed at the same time......
Great video. I have to point out relating tuplets to milliseconds is straightforward math. You don’t have to guess how many notes to play before you land on a beat Start with the ratio of 1000/70. Simplify it to 100/7 and divide by 8 (4 for 16th notes * 2 for 120/60) and you get 25/14. (7/8 has 14 16th notes as you know) A tempo of 60 * 100/7 ~ 857.14 would be a quarter note roughly every 70ms. Divide the tempo by four for 16th notes every 70ms.
Many thanks for your comment and eloquent mathematical breakdown. I certainly get the maths, but my discussion at that point in the video is about context and the application of the process within the DAW.
Cazy good. :) Zappa was a genius and now I understand him more. Interesting, how his views are similar to Buddhist tantra, Thus Spoke Zarathustra or even Herberts Dune :) (God Emperor of Dune saw it all.) Thanks, thanks, thanks.
Where are in a mechanical world where many time signatures and landscapes of sound layer themselves. These can have sonic inroads into our (emotional) subconscious. We probably all have the seeds of being ‘composers’ but we choose to import others compositions. I always liked Frank’s output because , like jazz, ‘on’ The Beat is more of an abstract anchor that you work around. I’m not a musician, my talents were in the visual theatre, but principles of composition are rooted in a corporate perception. Sometimes a simple idea shift our perception and we are forever changed. We should WANT to have our perception changed because we are not everywhere and everyone. I found a humanity to Frank’s output. He was liberating.
Well, what can I say? Frank was like a father to me. Thank you for doing this. Strangely, when I first heard his guitar solos, I thought he was Turkish. It just felt like home 😀
I have to say, as a father figure, you could do alot worse than Frank. I hope he's making more of his interesting music wherever he is. I think that if he could have survived even five years longer, the sheer volume of his music would surpass all other composers. His orchestral compositions are incredibly imaginative and exciting to listen to, so don't discount them, even if you don't like orchestral music. He opened my mind to Beethoven, Tchaikovsky, and many others. Long live his music!
Sorry, I haven't watched this video yet but I can't resist replying "any way he liked" :) Seriously though, I've just discovered your channel and I'm very excited to dive into your videos.
Franks not underrated. He was doing things that us stupid people haven't figured out yet. It's like the group Gentle Giant. A group from the '70s that only the last few years are finally getting in too.
That clip is from 31 October, 1981, filmed at the Palladium in NYC. (Link: ruclips.net/video/bn276qI3ZjI/видео.html) The Minimoog is an original from the 1970s or early 1980s, not a later reissue model.
@@bjc2 Are you certain? I see two Black Rocker Switches under the Glide and Modulatiom Mix Knobs. Also, the sound changes drastically when they cut to that section both times.
@@horowizard I am 100% certain that this was one of the 1981 Halloween shows filmed at the Palladium. It does look like something additional is on the Moog but it doesn't look like the two rocker switches of the reissue to me. It is certainly possible that Zappa had mods done to his Minimoog. Or it could just be shadows from the two knobs above, or some other trick of lighting.
I think about this often. My experimentation with looping and delay pedals coupled with studying improvised recordings of my shitty guitar technique allows me to explore how Zappa's views of rhythms are, while not exactly "ahead" of his time, is certainly alien, yet fresh and welcomed, compared to academic study of rhythm as well as basic "good enough for garage band" level theory.
A big problem is that we live in a era of history where we willfully pretend not to understand fundamental (actually inescapable) “data”, for lack of a better word, about the nature of consciousness. Purposes/intentionality, rationality, concepts like “cause” or time or space, or qualia, etc-these are not physical and must be logically prior to any experience whatsoever. This reality we know to be “real” whereas “physical” (whatever that is), we only have second hand knowledge of. If you ignore this you’re gonna get lost in a lot of pointless confusions and category errors when trying to understand “reality”
To my ears, while Zappa talked a big polyrhythmic game, his music -- even his orchestral and synclavier music -- tends to feature nearly always at most only 2 interdependent layers moving simultaneously -- a "foreground" and a "background", essentially, really not that different from the old "melody over chord changes" tradition (ex: nearly all of his guitar solos [xenochronous or not], "The Black Page", "Mo & Herb's Vacation (1st movement)", etc) . There are exceptions, but these denser constructions generally end up being felt as "textures" rather than as independent interlocking voices (ex: "The Chrome-Plated Megaphone of Destiny", your example from "Mo & Herb's Vacation (2nd movement)" at 6:50). Conversely, a FUNDAMENTAL feature of Captain Beefheart's music is the use of at least 3-4 quasi-independent polymetric interlocking lines that each maintains its own characteristic contour without becoming a "textural" blur, achieving what I'd call "true polyphony". By comparison, Zappa's music is shockingly linear, spare, and straightforward in conception -- very rarely going beyond "melody + background" or (if it does) "stochastic textural cacophony". Very little actual polyphony, counterpoint, or cleverly-executed interdependent interrelationship beyond just 2 perceptual layers. Still rhythmically adventurous compared to nearly everything else, but nearly always "this dynamic thing over that static-ish thing" in terms of layers, compared to "4-5 dynamic & clearly-delineated things all at once interlocking in dense layers of multiple polyphonic counterpoint" in works like Trout Mask Replica or Lick My Decals Off Baby. Just sayin' To be clear: I LOVE Zappa's music (esp. his work in the 60's with the original Mothers and his later orchestral / synclavier work from the 80's & 90's), but I feel his strengths were in collage and linear juxtaposition (ie, abrupt shifts from one thing to another in "Lumpy Gravy" & "We're Only in it for the Money", "You Can't Do That Onstage Anymore", etc.) as well as crafting amazing linear melodies in unusual rhythmic contexts (ie, "Oh No" is the catchiest melody in 7/4 EVER), and stylistic heterogeneity calling attention to the "norms" of diverse genres of music (& mocking them). The only thing I'm pointing out here is that his music, while horizontally / linearly complex, rarely featured much true polyphony beyond 2 interlocking perceptual layers.
"The beats come together about once a month"
So Frank
So it's a menstrual cycle.
I choked on chicken reading this 🐔
That was not only enjoyable, it rearranged some of the furniture in my brain. Cheers! Dex
furniture yea i like that good one 🔥
Isn't that what Zappa in general does?
This video is incredible erplaning why the more you listent to Zappa's music, the better it gets. The cohesion between the whole work along the yerars makes you go back and re discover the music over and over again.
12 years have been since i've first listened to Once Size Fits All, and I still get the same feeling over and over again for this music.
I´m listening for half a century now.
Will there be someone passing his work by sometime?
i did not understand his 'Conceptual Continuity' until i listened to his works out of timeline order.
As the great Firesign Theater once asked: "How can you be two places at once when you're not anywhere at all?" Thanks for working this up.
During the mid seventies and up my friends and I had memorized about three album,because We Were All Bozos on The Bus..all of us had Ralph Spoilsport down.Betty Joe Bialaski oh you mean Nancy.Nick Danger Third Eye,
Around the 19:00 mark, when subliminals were being discussed in Zappa's use of similar passages in songs throughout his catalogue, I immediately though about Firesign theater. They were geniuses at subtle running gags across albums. One of my favorites was the phone conversations from different sides when a man was trying to order a pizza and accidentally called Nick Danger, where you eventually hear both sides of the conversation. But if you didn't make the connection, you wouldn't get the joke. Brilliant stuff. "They never come into the hills..."
Were all Zappa freaks into Firesign Theater? Just an odd thing to see this comment...my dad, born in 1950, was one of those original "freaks" or whatever and is also the only person I've ever known to reference Firesign Theater. And he was really into it, apparently; he and his friends, like, _memorized_ those skits. There's some kinda Firesign Frank crossover here!
@@floofytown I had friends from work in the 70s who introduced me to Firesign. They would hold whole conversations just quoting the material. So what’s all the brouhaha?
@@floofytown This is because the Firesign Theater, as comedians, had alot of similar qualities as Zappa. For example, you always can find things you didn't notice before upon subsequent listenings. Always new things to discover. For example, nothing against Cheech and Chong, but there's only so much there and you can only listen to it so many times before it gets tired. Firesign Theater's stuff is so dense, that you sometimes don't get it right away.
That bit @ 6:24 with the numerous percussion instruments each with their own time was amazing!
thank you! Happy to see that Zappa is still among us. He left us a lot to enjoy.
This is now my favorite channel on RUclips. So glad I found it. I guess I’m late to the party. Thank you for all of your hard work. Im a long time FZ fan and musician and appreciate your analyses so much.
I just marvel at the thought of what Frank would be able to achieve with today's modern hardware and technology, he would have created something brand new that nobody ever heard before that's for sure
…and then he’d put a dick joke in the song or make it about groupies
I would have liked to hear him without it
Crazy to think he would have made another 20 albums that suck
Why do you think one particular Zappa record " which one are you referring to ? " was valid and not all the others..do you understand the premise of this video and what Frank was saying is that all his music should be taken as a whole? what exactly is your problem with the rest of his music ?@@musaka2022
@@musaka2022 Your ignorance shines forth.
I already knew this.
Ok no I didn't. It's information like this that deepens my appreciation, fascination, and respect for Frank Zappa. It seems the depth of the content well is never there.
…and he did it with analog equipment….
Not a hipster flex, but I knew this. I love FZ with a depth of music appreciation that is hard to express, I love videos like this because it helps me feel less alone in my bizarre experience of the world. The channel host guy gets it, and that fact gives me a sense of para-social community, and therefore comfort. Join us! ❤🎉😂
Sometimes I forget how Frank Zappa would have been a scientist if he wasn’t a musician.
That's why Frank's Dad bought him a drum set. His Dad was a scientist. As Frank said, If it wasn't for music, that he would just blow up the world.
Seems to me he was as much a scientist as he was a musician.
Maybe more a philosopher of science?
A unique internal structure and clock
That somehow makes his music good according to his fan base
The analysis and enjoyment are thorough. Thanks for putting this together.
After 40+ years of playing, some college study in classical music (guitar), and years as a professional musician, I am just now starting to feel I’m pretty good in 4/4. Sheesh.
Wish I were smarter. Oh well, I enjoy what I do, and that is truly what matters, so I hear.
Yeah no matter what my internal clock seems set to 4/4, I can keep track of the beats and phrasing naturally without any thought, but I need to focus hard to play in other time signatures and will keep slipping back to 4/4 if I get too brave with improvisation.
Quantum physics is compartmentalism
Big Science in Music...there is so much -facettes- to Zappa's work...thanks for this documetatry, excellent graphics animation and editing.
Great audio examples of polyrhythmic time, xenochrony, and for finding a simple way to relate it all back to his specific views on cosmology and metaphysics.
Never took music class serious, now I am struggling on reciting the circle of fifths and learning how to use FL Studio to compose/produce music. Everytime I listen to Waka/Jawaka, I get goosebumps and emotional. Especially towards the ending.
Same, but im working with reaper, Zappa inspires me too not use a metronome.
That’s my favorite Zappa! Still the most mind blowing shit I’ve ever heard.
hey how's it going for you now? how far have you advanced?
@@ozzy3933 I've been working on some projects. Nothing like Zappa. I still have ways to go.
@@velvetchord. glad to hear it :), keep going! and let me know if you decide to post anything
Dude absolutely love the part where you basically explain how Zappa's synclavier days were like. Seeing that process makes so much sense considering how Civilization Phaze 3 sounds
Many thanks!
Supremely interesting..thanks. Don’t miss the fractal train. 8:33 Jaco did something of that concept on Crisis.
The 'B' (block) theory of time is definitely compelling.
The effort put into this was obvious. Nice job!
This is an incredibly brilliant analysis and wonderfully presented. It should be required viewing. Repeatedly. At least annually. Oh, if the world could simply experience and think about such things, rather than the idiotic flotsam and jetsam that passes for 'information' these days. Alas, thinking is not only rare but a perishable skill. A treasured memory of my teenage years was discovering (and devouring) Uncle Meat for the first time. For some time prior to that, I'd been depressed (I did say 'teenager', after all). In a single sitting, I managed to go through a large Sicilian sheet pizza and play through the whole (double) album enough times that I'd destroyed the grooves in the record (I did purchase another copy). The upshot was that I emerged from that session with a perspective on life I hadn't had and a realisation that there was so much more 'out there' than my bullshit problems. Of course, that event also transformed my own musicianship, which had been well under way by that point, and that got me into many musical (and life) experiences I would otherwise not have done. Long Live Maestro Zappa. Cheers!
Would it please be possible to treat your videos like research papers and articles by placing some of the references in the written description? I am sure I am not alone when saying that sometimes searching out Zappa critique is like pulling teeth and it would be so useful and enriching to your output. Thanks for everything you do Chanan. Brilliant to have a resource that focuses on the music and not the Zappa lifestyle/smutty lyrics.
I always come back to this video
This is a great video! I would consider myself as well-versed in Zappa's music (and interviews) but this is a very good distillation of what FZ meant by time.
Damn. This video made my brain hurt.
Hello, at the 13:37 time mark you are showing the G page. But I don't think you have it quite right. The Duration column is how long the note on the keyboard is held down for. It sounds like you are trying to say it starts .07, .14 ms later than the previous note.
I find an entire gold mine in this series of video you made it. Good work well done , in a good anexhaustive analisys.
Many thanks!
I love your videos man, you are dead ass smart. Thank you for artuclating so well complex ideas which bring us closer to understand in depth what the fuck did Zappa do.
The half note triplet goes great with the Jazz ride cymbal groove, it’s one of my favorites.
Wow, how much work went into this?! Very impressive.
It could've done with slower narration; lots of words and not all common-day ones, either. And therein is my 'issue', I think. Whilst it's impressive, it's very academic... at a very granular level in places. I guess you framed it and put your thesis inside.
I get worried that it redresses events and meanings, adds more, leaves out others, and feeds it back into academia, which then, over time, rewrites history using academically-dense words Zappa never even used. And whilst that can easily impress us, as fans and viewers, because we believe he should be recognised and remembered, it also makes it difficult to pushback and just say, "Leave it alone mate - just let it be". Because we are biased.
That's difficult to write, knowing the care and attention that was poured into this. There were some very interesting breakdowns and visuals and I'm glad I watched it, so please don't be discouraged.
Very well said! I chose to read through your comment because I agreed with you about the narration pace, but you ended up mirroring my exact thoughts on the other issues you mentioned. Nothing for me to add because you said it all quite eloquently.
I think your assessment is fair and very well grounded.
Very interestin but, yes, narration is too fast for me. English is not my mother tongue so I can hardly follow it. No subtitles either
I'm really enjoying this video tomorrow, though strangely enough I've already given it a like...
what a mind bender
This is so fantastically good!
Your Zappa videos are fantastic, thank you!
I had to pause this phenomenal video to go get some weed. My sober mind puts up too many limits and resistance. Now I kinda understand Zappa's rhythmic contraptions. No one did it like Frank. He stayed true to his Vision. Great job
Well researched. Thanks for putting this together.
Just like frogs and crickets singing at night. Great Video.
@Mark & Vicki No problem, Have a great day.
This is amazing!
Thanks once again for explaining why I like this so much. Loved the graphics too.
Very enjoyable and enlightening 25 mins👍
that is a great overview,underview and innerview of his time concepts....he considered most see time as being linear...like a string that runs from the left and goes to the future on the right...timelines have conditioned the human mind this way....but if we take that same string and look stright down it it appears as a dot where all time can be viewed at the same time......
Great video.
I have to point out relating tuplets to milliseconds is straightforward math. You don’t have to guess how many notes to play before you land on a beat
Start with the ratio of 1000/70. Simplify it to 100/7 and divide by 8 (4 for 16th notes * 2 for 120/60) and you get 25/14.
(7/8 has 14 16th notes as you know)
A tempo of 60 * 100/7 ~ 857.14 would be a quarter note roughly every 70ms. Divide the tempo by four for 16th notes every 70ms.
Many thanks for your comment and eloquent mathematical breakdown. I certainly get the maths, but my discussion at that point in the video is about context and the application of the process within the DAW.
This made my week, thanks for your service
Cazy good. :) Zappa was a genius and now I understand him more. Interesting, how his views are similar to Buddhist tantra, Thus Spoke Zarathustra or even Herberts Dune :) (God Emperor of Dune saw it all.) Thanks, thanks, thanks.
This is absolutely brilliant beyond words and you and Frank are absolutely insane.
Great work,really informative and impressive!
Incredible video. Please do more!
Beautiful video!
Excellent information
Where are in a mechanical world where many time signatures and landscapes of sound layer themselves. These can have sonic inroads into our (emotional) subconscious. We probably all have the seeds of being ‘composers’ but we choose to import others compositions. I always liked Frank’s output because , like jazz, ‘on’ The Beat is more of an abstract anchor that you work around.
I’m not a musician, my talents were in the visual theatre, but principles of composition are rooted in a corporate perception. Sometimes a simple idea shift our perception and we are forever changed.
We should WANT to have our perception changed because we are not everywhere and everyone. I found a humanity to Frank’s output. He was liberating.
Very nicely detailed and made video. Hope you have tons of fun, fufilling, floopy, flaming, flaying fanfare in the future!
I’ve read that Eno tracked both Fripp and Belew with them blasting out solos without hearing the backing tracks.
Well, what can I say? Frank was like a father to me. Thank you for doing this. Strangely, when I first heard his guitar solos, I thought he was Turkish. It just felt like home 😀
I have to say, as a father figure, you could do alot worse than Frank. I hope he's making more of his interesting music wherever he is. I think that if he could have survived even five years longer, the sheer volume of his music would surpass all other composers. His orchestral compositions are incredibly imaginative and exciting to listen to, so don't discount them, even if you don't like orchestral music. He opened my mind to Beethoven, Tchaikovsky, and many others. Long live his music!
I think I understand music, Zappa, and fractals pretty good, and this was well over my head.
Ok, ok...
Sorry, I haven't watched this video yet but I can't resist replying "any way he liked" :)
Seriously though, I've just discovered your channel and I'm very excited to dive into your videos.
With the metronome he had in his head.Frank is the most underrated Genius composers of our time.
Franks not underrated. He was doing things that us stupid people haven't figured out yet. It's like the group Gentle Giant. A group from the '70s that only the last few years are finally getting in too.
that fucking word again. you guys ever switch your brain on before typing this shit?
Dude was a philosopher more than anything else.
Could'nt have said it better myself......a true scholar
I think that was amazing .I will watch it again to be sure . If i can find the time !
Brilliant and valuablen content. Thanks.
Excellent
17:12 do you still have this timeline of the conceptual continuity?
I also really want to zoom in on this
@@DriessenTijn same
That's Captain Beefheart next to Frank in the thumbnail.
It's drawn from the cover of the live album Bongo Fury.
FZ, a pioneer of the future of music
God, I just want to be able to talk to Frank about this.
great material
anyone got the link for that interview at 2:44? thanks from the past, present, and future lol
I used to play in a big band with a guy that knew Zappa when he was playing drum gigs.
¡Muy interesante! Great job, my friend. ¡Muchas gracias y viva Zappa!
Legendary video
At 23:33 we see a Minimoog Model D Reissue which did not exist during Zappa's lifetime. Where is this clip from?
That clip is from 31 October, 1981, filmed at the Palladium in NYC. (Link: ruclips.net/video/bn276qI3ZjI/видео.html) The Minimoog is an original from the 1970s or early 1980s, not a later reissue model.
@@bjc2 Are you certain? I see two Black Rocker Switches under the Glide and Modulatiom Mix Knobs. Also, the sound changes drastically when they cut to that section both times.
@@horowizard I am 100% certain that this was one of the 1981 Halloween shows filmed at the Palladium.
It does look like something additional is on the Moog but it doesn't look like the two rocker switches of the reissue to me. It is certainly possible that Zappa had mods done to his Minimoog. Or it could just be shadows from the two knobs above, or some other trick of lighting.
DANKE... give us more its great!!!!
I feel like if you put enough polyrhythms together, it just winds up sounding like syncopated 32nd notes
I think about this often. My experimentation with looping and delay pedals coupled with studying improvised recordings of my shitty guitar technique allows me to explore how Zappa's views of rhythms are, while not exactly "ahead" of his time, is certainly alien, yet fresh and welcomed, compared to academic study of rhythm as well as basic "good enough for garage band" level theory.
The beat goes on and I'm so wrong.
To the title,
He didn't, he just let it fly around and rest when it wanted to.
15:53 I was just dying! 🤣That’s awesome!! Someone put that on a T-Shirt!!
Nice job...☺
Nice editing! What do you use to do it?
"What is your Conceptual Continuity !?"
Interesting. It sounds like you’re describing James Joyce Ulysses or maybe Finnegans Wake narratives too.
He was always on beat in the future
“I don’t want to be remembered“.
Frank Zappa.
Great video
This Video IS GREAT THANK YOU
I can't remember where, but I'm sure I once read Zappa saying something about 47/48 timing. Who the hell else has ever even attempted that?!
Where can I find that piano version of Mo N Herb’s vacation??
This is fascinating thankyou
Perfect Video! Thank you by the way.
Thank you
The Big Note meets The Mystery word for tonight. Arf!
A big problem is that we live in a era of history where we willfully pretend not to understand fundamental (actually inescapable) “data”, for lack of a better word, about the nature of consciousness. Purposes/intentionality, rationality, concepts like “cause” or time or space, or qualia, etc-these are not physical and must be logically prior to any experience whatsoever. This reality we know to be “real” whereas “physical” (whatever that is), we only have second hand knowledge of.
If you ignore this you’re gonna get lost in a lot of pointless confusions and category errors when trying to understand “reality”
thanks for this video mate
Genius analysis 👏
This is great...in a weird way it feels like quantifying phrasing.
Over my head, I confess.
Hey M. Hanspal, I wrote you via bandcamp, did you get my message ?
The poodle kept time. That’s why he kept him around. When the poodle needed a rest, he used his mustache.
To my ears, while Zappa talked a big polyrhythmic game, his music -- even his orchestral and synclavier music -- tends to feature nearly always at most only 2 interdependent layers moving simultaneously -- a "foreground" and a "background", essentially, really not that different from the old "melody over chord changes" tradition (ex: nearly all of his guitar solos [xenochronous or not], "The Black Page", "Mo & Herb's Vacation (1st movement)", etc) . There are exceptions, but these denser constructions generally end up being felt as "textures" rather than as independent interlocking voices (ex: "The Chrome-Plated Megaphone of Destiny", your example from "Mo & Herb's Vacation (2nd movement)" at 6:50). Conversely, a FUNDAMENTAL feature of Captain Beefheart's music is the use of at least 3-4 quasi-independent polymetric interlocking lines that each maintains its own characteristic contour without becoming a "textural" blur, achieving what I'd call "true polyphony". By comparison, Zappa's music is shockingly linear, spare, and straightforward in conception -- very rarely going beyond "melody + background" or (if it does) "stochastic textural cacophony". Very little actual polyphony, counterpoint, or cleverly-executed interdependent interrelationship beyond just 2 perceptual layers. Still rhythmically adventurous compared to nearly everything else, but nearly always "this dynamic thing over that static-ish thing" in terms of layers, compared to "4-5 dynamic & clearly-delineated things all at once interlocking in dense layers of multiple polyphonic counterpoint" in works like Trout Mask Replica or Lick My Decals Off Baby. Just sayin'
To be clear: I LOVE Zappa's music (esp. his work in the 60's with the original Mothers and his later orchestral / synclavier work from the 80's & 90's), but I feel his strengths were in collage and linear juxtaposition (ie, abrupt shifts from one thing to another in "Lumpy Gravy" & "We're Only in it for the Money", "You Can't Do That Onstage Anymore", etc.) as well as crafting amazing linear melodies in unusual rhythmic contexts (ie, "Oh No" is the catchiest melody in 7/4 EVER), and stylistic heterogeneity calling attention to the "norms" of diverse genres of music (& mocking them). The only thing I'm pointing out here is that his music, while horizontally / linearly complex, rarely featured much true polyphony beyond 2 interlocking perceptual layers.
VIDEO STUPENDO GRAZIE MILLE
I wish I was from an English country to understand and appreciate this video better Holly
and no subtitles in this one..........
I'm with you slow it down tell him