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A rock music quiz

So many people claim to know their rock-n-roll lyrics inside and out. If you`re one of them (or even if you`re not), here`s an opportunity to show the world how much (or little) you actually know.

Questions:

1. According to Bachman Turner Overdrive, how easy is it to be a musician?

2. What brand name alcoholic beverage is mentioned in Steely Dan`s "Hey Nineteen"?

3. What singer does Lynyrd Skynyrd lambaste in "Sweet Home Alabama"? What song were they so upset about?

4. Where is Mr. Caccitore`s located in in Billy Joel`s "Movin` Out"? (be specific)

5. Where did Brenda and Eddie the main characters in Billy Joel s Scenes from an Italian Restaurant buy their paintings?

6. How much does it cost to hear Willie and the Poorboys play in CCR`s "Down on the Corner"?

7. What does Roger Daltrey suggest the listener do if he (Roger) should swallow anything evil, in the Who`s "Behind Blue Eyes"?

8. What is the last name of Levon in Elton John s Levon ?

9. What establishment is at the end of Lonely Street?

10. Who would you reach by calling 867-5309?

11. What phrase does John Cougar`s prospective lover need to know the meaning of in "I Need a Lover"?

12. What kind of camera does Paul Simon own in "Kodachrome"?

13. What establishment are the boys hanging out at in Thin Lizzy`s "The Boys Are Back In Town"?

14. Where was the Jester in Don McLean s American Pie ?

15. In Warren Zevon`s "Werewolves of London", what is the Werewolf drinking, and where?

16. What four cities are mentioned in Pup Muzik ?

17. Where did Steven Tyler take a big chance in Aerosmith`s "Walk This Way"?

18. What does the heart afraid of breaking never do in The Rose ?

19. Boston is dancing in the streets of what town in "Rock and Roll Band"?

20. What holiday does it feel like in Chicago`s "Saturday in the Park"?

21. According to Neil Young, is it better to fade away or burn out?

22. Where does Suzanne Vega s Luka live?

23. According to the Rolling Stones in Paint it Black, what color is the door they want to paint?

24. What is Chapter 3 in the Book of Love?

25. In Supertramp s The Logical Song, the singer is sent away to learn how to be what four things?

26. Why was the young couple in Meatloaf s Paradise by the Dashboard Light doubly blessed?

27. What Beatles song is mentioned in Bad Company`s "Shooting Star"?

28. In "Maggie May" what time of year is it, and where should Rod Stewart really be?

29. How does Bob Seger describe Janey in Against the Wind ?

30. What old adage is recited in Sly and the Family Stone`s "Everyday People"?

31. Kim Carnes sang about a lady with Bette Davis eyes, but how did she describe her hair?

32. Where does Prince work in "Raspberry Beret"? Who`s his boss?

33. In what town were the Eagles standing on a corner in "Take It Easy"?

34. John Fogerty references three baseball players in Centerfield who are they?

35. What does Jimi Hendrix ask Joe in "Hey Joe"?

36. How was The Band feeling when they pulled into Nazareth in "The Weight"?

37. Who is Ziggy Stardust`s backup band in David Bowie`s "Ziggy Stardust"?

38. What has Freddy Mercury of Queen had his share of in "We Are The Champions"?

39. What does Johnny win in Charlie Daniels The Devil Went Down to Georgia ? What could he have lost?

40. The radio reminds John Denver of what in his song Country Roads ?

Answers:

1. It s as easy as fishin

2. Quervo Gold

3. Neil Young; the lyrics in Young s song Southern Man

4. Sullivan Street, across from the medical center

5. Sears

6. A nickel

7. Stick your finger down my throat

8. Tostik

9. Heartbreak Hotel

10. Tommy Tuton s Jenny

11. Hit the highway

12. Nikon

13. Dino s Bar and Grill

14. On the sidelines in a cast

15. Pina Colada at Trader Vic s

16. New York, London, Paris, Munich

17. At the high school dance

18. Learn to dance

19. Hyannis

20. The Fourth of July

21. Burn out

22. On the second floor

23. Red

24. The Meaning of Romance

25. To be sensible, logical, responsible, practical

26. Because they were barely 17 and they were barely dressed

27. Love Me Do

28. Late September; back at school

29. Janey was lovely, was the queen of my nights

30. Different Strokes for Different Folks

31. It was Harlow gold

32. Five and Dime, Mr. Magee

33. Winslow, Arizona

34. Say Hey Willie (Mays), Ty Cobb and Joe DiMaggio

35. Where you going with that gun in your hand?

36. Half past dead

37. The Spiders from Mars

38. Sand kicked in his face

39. A fiddle of gold; his soul

40. His home far away

Short Takes: Bihag

In this installment of Short Takes , we train our attention on Raga Bihag. After the customary inspection of the rAga's internals, we shall set upon a lavish, scrumptious spread of Bihag confections from both the Hindustani and Carnatic paddhatis. We shall also survey a few sub-melodies spawned by Bihag. Throughout this causerie,

Raga Bihag

"Bihag" (bihAg) is said to derive from "vihag" or "vihang" (Note: Raga Vihang, the Marwa-thAT melody in currency among the Atrauli-Jaipur vocalists, bears no resemblance to our subject du jour). Pandit Vishnu Narayan Bhatkhande has assigned it to the Bilawal thAT with good reason: an inquiry into its structure betrays its Bilawal antecedents. Bihag has carved for itself an independent swaroopa and garnered enough melodic heft to qualify for the cachet of a Raganga Raga. In his widely-read work, Raga Vigyan , Vinayakrao Patwardhan says that Bihag is a Kalyan-anga rAga. The influential Indian classical musician is often known to talk through his hat on matters he is not equipped to address; he can be excused only on the grounds that (to paraphrase Sir Peter Medawar) "before deceiving others he has taken great pains to deceive himself."

Let us now address the rAga-lakshaNAs. Raga Bihag is composed of all the shuddha swaras and a soupçon of the teevra madhyam. Although elementary lessons proscribe the rishab and dhaivat in Arohi prayogas these swaras are nevertheless so manifestated subtly, their conduct in this particular setting in accord with the overall rAga-dharma (as Jha-sahab puts it). Indeed, it will be seen later that most masters exploit the graces of R and

The Bihag of yore had scant regard for the teevra madhyam. An examination of the compositions documented in Bhatkhande's Kramika Pustaka Malika and Jha-sahab's Abhinava Geetanjali shows m to be a 'gupt' (hidden) swara in almost all instances. It occurs in the meeND from P to G or sometimes in the shadow of P. The core lakshaNAs can be stated without regard to m. In recent times, however, the teevra madhyam has advanced in stature and the cluster P m G M G, with its pointed reference to m has come to be associated with Bihag.

S, N', N' S G M G-(R)-S

The poorvAnga activity originates on the mandra nishAd (the grAha swara). Both G and N are powerful, the vAdi and samvAdi swaras, respectively. The meeND-laden movement represented by G-(R)-S is a crucial component of Bihag's signature: the elongation of G before the declination to S, finessing over R without its explicit acknowledgement. R is also admitted in a more open, albeit weak, mode: G, RS. The G-(R)-S and the symmetric uttarAnga cluster, N-(D)-P, play a crucial role in fortifying Bihag's character.

N' S G M G P, P->(m)G M G, P M G, RS

Notice the langhan (skipping) of the M from G to P. Sometimes an alternative prayoga takes effect: S M G P. The teevra madhyam comes into play in a 'soft' meeND from P to G (contrast this intonation with the 'hard' meeND employed in Shuddha Kalyan). As indicated earlier, m has now come to be accorded a more visible role through P m G M G or P m P G M G.

[P] G M G, GMPD-G M G, P M G, RS

This movement, bridging the poorvAnga-uttarAnga regions, exhibits a pronounced Bilawal influence. Of interest are the khaTkA on P (i.e. a quick PDPmP pulse), designated by enclosing it within a square bracket, the D-G coupling, a Bilawal giveaway, and the tonal ribbon containing another Bilawal germ, P M G, RS .

G M P N, N, S"

This uttarAnga launch is a Bihag signpost. Oftentimes the second instance of nishAd is imparted a subtle grace of D, as in P N (D)N (D)P . During elaboration the occasional, but striking, leap from M to N as in G M N-(D)-P is also observed.

P N, N, S", S" N, DP

The paradoxical role played by R and D should be evident by now: both are weak swaras yet essential to the Bihag spirit. Recall the symmetry of the G-(R)-S and N-(D)-P clusters with D and R forming exact counterparts in the manner of their ucchAraNa.

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