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Chickadee

This is my new jam. Boird Band.
Go see the myspace yup.
It’s ‘free punk’ renditions of classic bird songs.

That above boird you’re looking at is a black-capped chickadee. He’s got a nice little song – verse chorus verse. The verse consists of a two-note melody: BA, and the killer chorus takes it down to the E: Chicka-dee-dee-dee!

It rocks is all.

But dig this, the “chicka” in question, is formed from the two notes of the verse sung at the same time. These boirds are full of surprises like these!
E, A, B. With these three notes, the chickadee sings a bazillion songs.

I also transcribed the Morning Dove, and the Cardinal (coming soon in interactive flash widgets).
And, if you were wondering: Yes, I wanna fuck boirds. Beakjobs.

The Oldest Song

This cover of the Oldest Song was sequenced using triangle waves, casio drum kits, synth voxes, a toy Chinese piano, and some wind samples. It was originally a hymn written for two voices, maybe a lyre too. This cover is more akin to the original alien’s version, that lost some of its fi, when imparted to man as part of the civilization package.


There is just about every time signature in this song – 4, 5, 6, and 7 too. Who would’ve thought the music of ancient Syria was so progressive!?

I used the only recorded version I know of, transcribed by Prof. Anne Draffkorn Kilmer, from a CD called “Sounds from Silence”. She studied the clay tablets for 15 years and came up with this masterpiece.

Oldest Song by Prof. Anne Draffkorn Kilmer.

It is pretty cheesy sounding, but I felt it could be cheesier still. So I covered it. Also, if you notice her time signatures are even more ridiculous. I smoothed it out and at least made the eighth notes even, so that a drum and bass could throw down.

The Oldest Song shows us how little pop music has changed over the course of four centuries. The Song is in diatonic C Major, harmonized mostly in thirds, and contains a simple I IV V Progression – The ‘Three Golden Tones’ found in every musical culture at any time on the planet. For god’s sake, the first measure of the Oldest Song is almost identical to Beethoven’s Ode to Joy!

It’s no secret that babies like Major Chords above all others. There’s a simple explanation really. Major chords make us happy because every musical tone is a major chord!

Behold the Harmonic Series!


The first tone on the left (the low C) is known as the ‘fundamental.’ If you played this tone on a piano, it would resonate with all the other tones of the series, called ‘overtones’, or ‘harmonics’. The fundamental is the pitch that you hear, while the overtones define the timbre of the instrument – what distinguishes a piano from say, a flute.

Thus, every tone is actually a chord made up of infinite tones. Add up the dominant overtones in the series, and you’ve got yourself a Major Chord.


Mommies, be sure to coo your children to sleep in Major keys and remain absolutely silent at the moment of their birth.

Here’s a little guitar diddy I made of the Harmonic Series. The scale name is known as ‘Lydian Dominant’. Enjoy my friends!

There’s also a great Article by musicologist Bob Fink, all about the Oldest Song.

Feel free to comment about this post with any questions or whatever. You don’t have to be a member or even leave your name to show some love.

Major Sevenths

Hello, and welcome to the Los Doggies blog! This is the very first post, so I’m writing about my favorite chord — the Major Seventh. Check it out on this crappy out-of-tune guitar.


It’s called the Chord of Love. To understand why, let’s take a look at the 4 beautiful notes that form a Major Seventh.


The Major Chord alone is a happy fellow – triumphant, righteous, but add the Major Seventh on top, and what have you got? A sad, sad little heartbroken chord.

The Seventh is eternally seeking resolution to the Root. By suspending the Seventh on top of the Root, nothing will ever be resolved. In this way, you can fuck with your listener’s desires!
Los Doggies uses buttloads of major seventh chords. So do the Beatles.


https://www.losdoggies.com/something.jpg
These two measures show off the Major Seventh as a means of simple harmonic progression, but check out this earlier Beatles example…


https://www.losdoggies.com/sleeping.jpg

Just like in “Something”, the Seventh is accentuated in the melody, but here, the Major Seventh acts as a resolution, albeit a dreamy resolve to the subdominant (IV Degree). Everything in this chorus is a perfect fit – the lyrics, harmony, and movement are all of one sleepy psychedelic mind.

Sean Lennon is also a Major Seventh enthusiast. Listen to the song “Bathtub”. Right before the second chorus, there is an acoustic guitar breakdown bridge section that goes – C#maj7 Amaj7 Dmaj7 Bmin7. It don’t get lovelier than that.

The band Hum also uses Major Sevenths in totally original ways.
Check out the song “If You Are to Bloom”. The little segue riff (when everything kicks in), modulates through weird Major Sevenths – Dmaj7(add 9) Bmaj7(add 9) F#maj7(add 9) and on to the Emaj7. This type of harmony, (along with the thousand tracks of guitars) gave Hum their unique outerspacious sound.

Finally, here’s a beautiful song by America, chock full of Major Sevenths sung and strummed.
Tinman