January 29, 2016 groovacious

Forty Days and Forty Nights

Look up Karl Preston photography

Look up Karl Preston photography

A bout music, healing and spirituality

A biblical story that has always deeply fascinated me is Jesus’ retreat from everyone — fasting forty days and forty nights.

During these days, he was subjected to extreme temptation — ultimately triumphing over it.

The Soul Searching that he must have gone through during these difficult days is deeply intriguing to me.  It explains why many spiritual practices around the world require us to make an abrupt change of our daily living habits.

A purification — a total break in the routine.

As artists, we often forget that music is so much more powerful than we think it is.

We know now that we hold in our hands a gift that has the potential to underscore life, and to help heal and transcend even the most profound hardships. Here is one way to use it…

Instead of staying with one continuous idea in a linear pop music, why not change the direction of the song and help it undergo a complete metamorphosis?

We can alter the ‘metabolism’ of the song and its effect on the listener dramatically.

That’s why “bridges” are so wonderful.  Once ubiquitous in popular music and practically a “lost art” in today’s mainstream music, they let the story expand into a larger dimension.

Often, something magical happens.

Here’s an example of a bridge section — that is a whole story unto itself:

Gordon Lightfoot’s “Canadian Railroad Trilogy”

 

When I hear this song, I am suddenly lifted up into this amazing adventure ride – and then I miraculously and safely land back in the original melody.

When the main theme re-starts, it’s just magic!  I just love how the main theme of the song brings me “home” after the great bridge/ middle section.

The Bridge is the Adventure in the song.

If we can build something into a song that results in a deepened feeling once we return to the theme, (coming home from the adventure), we have accomplished something magical.

What about those great “set-up verses,” such as the one in “I Got A Crush On You” or “Someone To Watch Over Me?”

I vividly remember that wonderful feeling when the main song started after the setup verse.  It happens to me every time.  Never goes away.

Here are two instrumental examples where I have allowed that “adventure” to unfold.

Come along for the ride!

O Pantanal                              Amistad

             

 

STEPHAN OBERHOFF