From around 8:15 to 8:27, Squire goes back and forth between two notes (in a most appealingly Shaggs-like way).
Do those two form the root of the note/chord/whatever-the-fuck-it-is that’s stated in my OP? Like - combining those notes…same thing as in OP?
Aside: I think my favourite bit is Squire’s descending thingy at :22-:24…:29-:32…:36-:38, etc…The way it just sorta, glides over the mix. Neat.
And yes - I plan to die on my hill of my Chris Squire/Dorothy “Dot” Wiggin equivalent.
Just picture yourself as Little Richard or Jerry Lee Lewis as you play. EVERYTHING they did was cool.
I thought this thread was going to be about the great, sickening chord near the end of Richard Strauss’s opera Salome, when the Princess smooches the severed head.
(In old-fashioned stagings. In most contemporary productions, the chord comes when Salome sticks the head between her legs)
I’m pretty sure if he’d been asked about her, Chris most likely would’ve gulped nervously before shakily reaching for a glass of water and then mumbling something about being in awe of her subtle, somewhat distracting wizardry.
Unfortunately youtube does not offer the soupcons of DW’s intriguing-to-say-the-least harmonic dynamics that would’ve illustrated my point of leaving Squire tugging at her shirttails in emulation. I guess this’ll just have to be one of those “just take my word for it” kinda things.
Those combining of those two notes, on the other hand…
See cause I heard he had some creative differences with Dot and then became a disciple of the legendary stardust cowboy. You can hear it all over Tormato.
