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Sign In. Try It Now. The Duke of Prunes. Amnesia Vivace. The Duke Regains His Chops. Call Any Vegetable. Invocation and Ritual Dance of the Young Pumpkin. Soft-Sell Conclusion. Big Leg Emma. Why Don'tcha Do Me Right? America Drinks. Status Back Baby. I'm describing all three versions of this title in the Paul Buff section.

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The notes of the main melody are mostly the same, but the rhythmic set up is quite different. The first one is very irregular with many syncopic phrases. What's confusing listening to it, is the deliberate inequality between the parts regarding their timing. When it's done emphatically I also show it in the transcription like bar 1, the difference between the bass and the singers, or bar , the difference between the two singers.

But there are also minor inequalities at various points where this isn't notated specifically. It's utterly bizarre to perform a song in this manner. The melody itself is rather complicated. Bars contain an entirely chromatic movement. The chord progression is Gm-Gb-F. From bar 8 onwards you can recognize parts of changing scales without clear key notes.

The bass mostly supports the melody, but in bars as numbers it's going its own way. In "America drinks and goes home" the rhythm is more normalised towards swing time the score of this version is included in the FZ Songbook Vol. It's remindful of cocktail lounge bars, with a singer and a little jazz combo. The singer is addressing himself to individual members in the audience that he knows personally.


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There's the talking of the people in the bar and the sound of a cash register all through this song. As it comes to the title and the atmosphere this song can be considered to be social criticism upon the habit of people to get drunk in the evening. Zappa himself played a couple of months in a lounge band - as the guitar player of Joe Perrino and the mellotones in - and came to hate it.

Regarding the music it's more taking lounge music a step further than a parody upon it. America drinks, opening midi file. America drinks, through midi file. America drinks, opening transcription. America drinks, through transcription. At point of "America drinks" this song jumps overnight into a section of Vaudeville music, in all probability played at double speed on record. It's an example of polyrhythms. The bass is immediately starting this figure during the pick up notes of the lead melody.

It needs a good sense of timing with only the ticking of the eighth notes by the drums to keep everything equal. Doing such polyrhythms became part of the routines the Mothers did during improvisations. Zappa would direct such improvisations via special hand indications. He would do the normal baton type conducting, but the Mothers had also developed a set of hand symbols for specific purposes.

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An easy one to understand for the public was pointing a finger up to hit a high note and a fist drawn down to play a low note. See 1hm through 1hm on this DVD for this topic. All through his career Zappa had a collection of unreleased compositions in stock, that could stay there for years before being released on albums. Some songs only got released postumely via ZFT releases. I'm dealing with the two available versions of this title in the Mystery disc-Projects section. They have the same lead melody, but the manner the accompaniment is handled, goes pretty differently.

The repeated ones are in A Dorian and D Mixolydian. I", pages This song also has a regular two-themes structure, each theme being repeated a couple of times no side-themes this time. Both themes are brief, causing the song to be short too.

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Son of Suzy Creamcheese, theme two score. Harmonically this piece is written as a chord progression with the bass being part of these chords, thus without pedal notes.

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Theme one begins suggesting A Mixolydian. It's followed by a final bar with only a chord, functioning as a desceptive cadence. It's an Asus2 chord. Instead of confirming the E minor tail from theme two once more, it jumps back to the A Mixolydian tonality of theme one.

The song has a multitude of themes, which are played after each other in a medley-like way, where the changes from one theme to another are abrupt, but without losing an overall structural idea. Most sections use various scales, but without a clear use of keynotes. The latter was released in , but this version for stage performance must have been in use much longer, because it's the version that Ian Underwood has transcribed in "The Frank Zappa Songbook vol.

I" of The differences between the two versions are mostly in the instrumental passages.

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General structure with starting time indication: a Brown shoes don't make it, opening midi file. Brown shoes don't make it, riff notes. It starts with a sequence that is chromatically repeated instead of within a key. Thus the key changes with every bar using a different scale the 5 bars "tv dinner by the pool" till "he's a bummer".

With "smile at every ugly Brown shoes don't make it, opening melody notes. Back to the rock 'n roll riff. The scales keep changing and in three bars the melody gets atonal "On a rug This section is followed by a larger atonal intermezzo. The references to modern music on "Absolutely Free" have often been mentioned, most notably a quotation of one of the opening motifs from Stravinsky's "Petrushka", that can be heard in the middle of "Status Back Baby". This part is a reference to serialism with the twelve-note string of the "Waltz for guitar" from the Zappa's teens section being re-used.

In this case it's not a strict note piece anymore however, because the string is used with a lot of liberty and additional notes. Below is an example of the re-use of this string. In the Songbook it's notated a minor second higher than in the "Waltz for guitar" and the first "Absolutely free" recording. Brown shoes don't make it, opening of the atonal intermezzo midi file.

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Brown shoes don't make it, fragment notes. In the first edition of this study, the "Waltz for guitar" example wasn't included nor had I noticed the similarity. I gave some examples of the returning C, F sharp, C sharp plus D, and A flat movement, which turns out to be and 1 of the string. After the intermezzo starts a block with themes in various swinging rhythms. See "Brown shoes don't make it " from the later Tinsel Town Rebellion album for three examples from this block.

The bars "tv dinner by the pool, I'm so glad I finished school" are repeated, indicating the coming closure of the song.

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Instrumental coda. Zappa often liked to bring changes in a sudden way, not only during a song but also from one song to another, where instead of the usual fading out or playing of a closing chord at the end of a song, he just cut it off and let the next song begin without any pause between the songs. For the song's instrumentation Zappa uses different groups of amplified and acoustical instruments.

He called this combination of instruments his electronically amplified orchestra. He continued to do so in his career, the band including at least six members and sometimes more than ten. These bands are using various combinations of amplified and acoustical instruments, differing from time to time. Next to a drummer the band almost always included a percussionist.

The latter not only for additional rhythm, but also with an explicit role for playing melodies. The score of "America drinks and goes home" can be found in the "Frank Zappa Songbook vol. It's a variation upon track 10, that I've described above.

officegoodlucks.com/order/43/1737-como-pueden.php Zappa himself has referred to this song as using the II-V-I progression, a progression he claimed to dislike. Only roughly this progression can be recognized. The song modulates all the time and it can only be interpreted as II-V-I when you're allowed to skip chords or add different chords, both in the piano reduction from the Songbook and the actual performance on record.

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