#(in c)

Ars Nova Copenhagen, Percurama Percussion Ensemble, Paul Hillier, cond., In C (T. Riley)

When I was littlle I loved this film and this song, so now I've used it for a fic-song. Also, the formatting of the chords will be probably screwed the moment I post this, so I apologise in advance. I marked the stresses for the chords like this.

{Verse 1}

C--F--C

I'm gonna tell you here a story that's true

--E --Am --D --G

about the finest werewolf that History knew.

--C-- F--C

Calmed when he's talking, but mighty in a brawl:

-- E -- Am -- G --C

This is the ballad of our Scotty McCall.

{Verse 2}

-- F -- C

He grew to be an alpha, a leader who's true;

E -- Am -- D--G

Keeping his friends safe was his only due.

F -- C

Many tried to stop him, but no one made him fall;

E -- Am -- G -- C

listen to the ballad of True Alpha McCall.

+

{1} It was dark outside in the January cold,

when two young students went out for a stroll

searching for a body, a feat which ain't small;

here begins the Ballad of our Scotty McCall.

{2} Stiles was grabbed by the scruff of his neck;

his father, the Sheriff, just knew him too well.

Deserted by his friend, Scotty fell back with a roll,

that was when a werewolf bit our Scotty McCall.

+

{1} His dreams turned strange in the following nights,

and even while awake Scott seemed to be picking fights.

Our boy was getting scared, he had no clue what to do,

until the time when Stiles said "I've a theory for you."

{2} "That night in the forest you were bit by a creature,

the kind that howls, is scary, but it ain't a cranky teacher.

The curse of Lycaon now runs in your blood;

It's time for Beginnings, the podcast where writer and performer Andy Beckerman talks to the comedians, writers, filmmakers and musicians he admires about their earliest creative experiences and the numerous ways in which a creative life can unfold.

On today's episode, I talk to modern composer Terry Riley. Originally from Colfax, CA, Terry began studying composition and performing solo piano in the 1950s. He befriended and collaborated with composer La Monte Young, and through the '60s further refined his sound. Terry's 1964 revolutionary composition "In C" essentially launched what is now known as the Minimalist movement. The piece's interlocking repetitive patterns changed the course of 20th century music, and its influence has been heard in the works of prominent composers such as Steve Reich and Philip Glass, as well as in the music of rock groups such as The Who and Soft Machine, as well as in collaborations with everyone from John Cale to Pauline Oliveros to Kronos Quartet. Since the '60s, Terry hasn't slowed down a moment, and he continues to compose and perform, and his latest recording is 2019's The Lion's Throne, a collaboration with singer Amelia Cuni.

I'm on Twitter here and you can get the show with:

David Harrow - In C - electronic interpretation of Terry Riley’s landmark minimalist piece, in slow, fast, and “12-inch” versions

RECORD YOU SHOULD BUY IF YOU HAVE TO BUY A RECORD THIS WEEK BUT FOR SOME REASON DON’T WANT TO BUY A BLUE TAPES/X-RAY RECORDS RECORD #90

Brooklyn Raga Massive - Terry Riley In C (Northern Spy; 2017)

from LPR:

"Terry Riley’s 1964 composition In C is has been described as the global village’s first anthem. Considered one of the most seminal works in minimalism, the piece, was inspired by the rhythmic patterns, drones and immersive nature of raga. Brooklyn Raga Massive (BRM) is a collective of forward thinking musicians that brings together artists and audiences of diverse backgrounds. BRM, rooted in Indian classical music, expands the scope of their musical endeavors by making liberal use of jazz, Western classical, rock, avant-garde and other music. BRM brings the music full circle, as the first ensemble to perform the piece with an orchestra of raga musicians and with mostly Indian instruments: sitar, sarod, tabla, bansuri, violin, vocal, cello, bass, guitar and more. Terry himself, who has studied and performed in Hindustani vocal traditions for decades, suggested that BRM open the composition to improvisation – and the ensemble’s performances have gained a new spontaneity, beauty and excitement. No two performances of In C are the same – listening to it can be a transcendent and moving experience."