Mjazz

When it comes to keyboards, nothing says Modern Times quite like this audience-facing back panel ... You can explain to those who ask WTF that it's your personal on-stage decontamination and viral containment unit.

OT, but kinda interesting ... The keyboard player in the live performance posted above (the redhead at the keys behind Christoper C) is Kiki Ebsen, She's the daughter of Buddy Ebsen ... who was, for those of us old enough to remember, Jed Clampett in the Beverly Hillbillies, and Barnaby Jones.

Here's the guitar chart that Christopher Cross prepared for publication on his website. He doesn't show the bass player's bass line, just his own guitar part, but it's interesting to see how he conceptualizes the chords.

[video:youtube]

From their website: Requirements: FULL version of Kontakt 5.5 or higher

[video:youtube]https://www.youtube.com/watch?v=IqN7lq4NQB0

Thanks, understood. Thinking of it that way is harder for me because it treats each of the four-bar sequences as its own different thing. I hear those sequences as being essentially the same thing, transposed and repeated: subdominant - bVII7 (pivot V7) subdominant - bVII7 (pivot V7/ii) subdominant - bVII7 (home key) then 3 - 6 - 2 - 5 in home key back to the tonic.

... correct, because: (a) all the melody notes within each four-bar sequence are in those respective keys, (b) the first chord in each four-bar sequence is one of the subdominant chords (either IVma7 or iim7) in the respective key (IVma7 of Db in the first four bars, ii7 of E in the second four bars) (which is why substituting an Ebm9 for Gbma7 works and sounds great in the first bar of the bridge; it's ii7 in Db), and © the second chord in each four-bar sequence is the bVII7 relative to the respective key, functioning *as if* it was going to be a bVII7 backdoor dominant approach to the tonic, but which turns out instead to pivot to function as V7 in the new key in first sequence or V7/ii7 of the new key in the second sequence. You can hear the bVII7 function, as it would've sounded without a pivot, by just ending each four-bar sequence with the tonic of the respective key: first four bars, play Gbma7 ... B7(Cb7) ... Dbma7, End. Second four bars, play F#m7 ... D7 ... Ema7, End. The brilliance is in never hitting any of those tonics, and using a bVII7 -> V7 pivot chord to change keys. Same analysis applies to the third four-bar sequence, in F: Gm7 (ii7) ... Eb7 (bVII7) ... Here, though, the bVII7 doesn't pivot to become V7 of a new key, it just sets up a iii7 - VI7(V7/ii) - ii7 - V7 in F: Am7 - D7 - Gm7 - C7.

For this exact problem, piano elbow, I started doing a physical therapy exercise called the Tyler Twist Protocol. It worked great, eliminating the pain, and I've continued to do it daily over the years. It stretches out the top of the forearm. The exercise is demonstrated in the video on this page. Here are links to PDFs of the underlying research article and the exercise protocol. It requires a simple rubber twist bar, which can be had on Amazon for about 13 bucks. (There are different color versions with different degrees of resistance. I've always used the red.) Alternative products would probably also work. I don't have any stake in this, by the way. It's just something that worked - extremely well - for me. I first heard about it from a New York Times article 10+ years ago. Press articles about it are linked on that page with the video.

[video:youtube]https://www.youtube.com/watch?v=ecKmcF1_rpY

[video:youtube]https://www.youtube.com/watch?v=fzVF2pcwtME

[video:youtube]

[video:youtube]

Sleeves? Who needs sleeves? Woodstock 1969:

Not an accident. I did it on purpose. Thank you!!!