There’s a musical theme in today’s audio piece: things that pretend to be another instrument, and while they don’t quite get there, are still something else.
That low bowed-string sound that opens today’s piece? It should be no surprise to long time followers here that it’s a Mellotron,* the primitive magnetic tape ancestor to today’s computer-based virtual instruments. It doesn’t really sound like a cello as it lacks any variation of articulation, but it does have a sound of its own.
There’s no bass guitar (the cello part is solidly in the bass register anyway), but to add a little punch I added an emulation of the Fender Rhodes Piano Bass most famously used by The Doors. Used as The Doors did, it can do a fair job of sounding like the plunk of an electric string bass, but I filtered it here so that it sounds less like a real bass. And yes, there’s an old-style electric piano in there too, an instrument that doesn’t really sound like a piano, having more of a bell-like timbre. I love the sound of a real piano, but there’s something else in the electric piano that I like too.
And finally, there’s the instrument I wrote the song on: electric guitar. I don’t know that we still think of the electric guitar as a “not quite” approximation of a “real” acoustic guitar, but one can define it so. There was more than the usual unamplified leakage of the electric guitar’s strings into the vocal microphone when I recorded the live take of the guitar and vocals for this. Normally I’d consider that a fault and record a clean pass of the vocal without that extraneous noise, but I kind of liked the accident and decided to keep it.
A little past half-way a pair of “real” violins doubling a new melody line come in, but since I don’t play real violin once more it’s a virtual instrument played on my MIDI guitar. Even in this simple section you can probably hear the difference in articulation from a modern VI instead of the Mellotron.**
“I see only the basic material I may use…you may ask me why do I fail” I put a MIDI pickup on a cheap battered guitar that found in a used shop. David Sylvian lacks Hopkins fierce collision of images, but shares a sensibility with Hopkins in his song.
Well, all this is backward from the usual post here, were we talk about the encounter with the text used*** and then have only a line or two about the musical process, but the Parlando Project isn’t about consistency—it’s more about its opposite. Which is part of why you, the listeners and readers here are different. If you were someone who likes but one kind of music or one kind of poetry, we could disappoint you here. Our way is not the way to do it for maximum audience size, but if you’re a writer or musician—and even if wise council may be to find your style and consistently present it—an experience of alternatives can enrich that.
And then too, think of all those failed, not-quite instruments that don’t actually sound like the real thing. They sound like the exact and different failures they are.
To hear the performance of Hopkins’ poem, use the player gadget below. The full text of “The Times are Nightfall” is here if you want to read along.
*It’s not actually a Mellotron: a rare, complicated and maintenance-requiring electro-mechanical instrument. The technology that greatly extended that concept, the modern “virtual instrument,” can more than handily represent it. Unlike the Mellotron’s single tape strips for each note, a virtual instrument can (all in software) represent different articulations and the various electrical subtleties of how the Mellotron was amplified and recorded back in the day. Even the peculiarity of the Mellotron’s notes being stored on strips of tape (not loops) that meant that after a few seconds the note would just end abruptly can be emulated or bypassed.
Music geek section: The Mellotron “VI” I used today is the M-Tron, who pioneered the idea of a software Mellotron. So far, I’m not quite grasping all its options, and I think I still prefer the Mellotron that’s part of MOTU’s Electric Keys collection.
**If you listen to “Endless Circle” from late last month here you’ll hear how today’s piece might sound with more realistic instruments: cello, violin, piano, acoustic guitar, and vibraphone. It’s very much the same palette as today’s piece. My frank opinion today? I prefer the musical accompaniment of “Endless Circle” and could never get a mix I was entirely happy with of “The Times are Nightfall.” But I much prefer the vocal performance on “The Times are Nightfall” and was unhappy with the vocals on “Endless Circle.” In each case, I settled for the best I could do that week so that Genevieve Taggard and Hopkins’ poems could get presented.
***Hopkins’ most famous series of poems are called The Terrible Sonnets not because they’re failed works, but because they are saturated with terror at failure and imperfection in human life. This poem has that too, but in its final section it seems to draft, in a New Year’s Resolution sort of way, a hope that personal discipline can lead one out of that state. The poem ends with ellipses, and I believe the poem may have been left unfinished by its author. My dictionary tells me that “ellipses” comes from the Greek for “falling short.” Even if unintentional, those things add meaning to the poem for me.
Though human discipline can do mighty things, it will fall short. Whether divine or personal, some grace, some mercy, some beauty in imperfection is necessary. Thus that blessing I give: “All Artists Fail.”