“Every radio program tries
to be more dramatic than life as every play
tries to be more dramatic than life and
every movie, not less so.”
Orson Welles and Miley Cyrus
Sitting in a tree
Orson Welles and Miley Cyrus
K-i-s-s-i-n-g
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I first played this melody, these arpeggios,
on guitar where grabbing the third an octave up
isn’t too hard because of the way strings are tuned.
On keyboard playing this with one hand is a stretch,
but if you pivot fast on your index finger
and reset fast for the next root it’s possible.
On keyboard you can play the root with your left hand
making it the treble note of a larger chord,
and the rest of the arpeggio is easy
for the right hand and there’s no rushing to reset.
On keyboard, too, of course, there is extra drama
in playing the root in a low chord’s treble note
and then still playing this as written right-handed
with the necessary pivoting and shifting.
When you add in Orson Welles and Miley Cyrus,
I mean when you sing along with your own playing,
this little five-bar tune becomes larger than life.
What a movie that would be—A young Orson Welles
brought back by extraordinary special effects
in a romance with Miley Cyrus as herself
and a larger-than-life jazz soundtrack about love.
What a wonderful scene that would be—Where Orson
explains to Miley that entertainment should be
more dramatic than life, not less so. She would nod,
swoon and they’d kiss. It would be a synthetic kiss
because he would be only a special effect
but with a jazz soundtrack bringing it all to life
it would be more dramatic than life, not less so.
Orson Welles and Miley Cyrus
Sitting in a tree
Orson Welles and Miley Cyrus
K-i-s-s-i-n-g
The thought is more dramatic than life, not less so.
Sitting in a tree
Orson Welles and Miley Cyrus
K-i-s-s-i-n-g
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I first played this melody, these arpeggios,
on guitar where grabbing the third an octave up
isn’t too hard because of the way strings are tuned.
On keyboard playing this with one hand is a stretch,
but if you pivot fast on your index finger
and reset fast for the next root it’s possible.
On keyboard you can play the root with your left hand
making it the treble note of a larger chord,
and the rest of the arpeggio is easy
for the right hand and there’s no rushing to reset.
On keyboard, too, of course, there is extra drama
in playing the root in a low chord’s treble note
and then still playing this as written right-handed
with the necessary pivoting and shifting.
When you add in Orson Welles and Miley Cyrus,
I mean when you sing along with your own playing,
this little five-bar tune becomes larger than life.
What a movie that would be—A young Orson Welles
brought back by extraordinary special effects
in a romance with Miley Cyrus as herself
and a larger-than-life jazz soundtrack about love.
What a wonderful scene that would be—Where Orson
explains to Miley that entertainment should be
more dramatic than life, not less so. She would nod,
swoon and they’d kiss. It would be a synthetic kiss
because he would be only a special effect
but with a jazz soundtrack bringing it all to life
it would be more dramatic than life, not less so.
Orson Welles and Miley Cyrus
Sitting in a tree
Orson Welles and Miley Cyrus
K-i-s-s-i-n-g
The thought is more dramatic than life, not less so.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Orson Welles at Wikipedia
*
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