New Year's Night

Every New Year's Eve, it's just about the same thing. I have to work on something and not just be content to sit back and let the year roll in. Why? Might be lots of reasons.

Still, keeping with a basic spirit of "sharing is caring", I posted a new track tonight called "New Year's Night" which probably won't stay as it is, but has risen out of two days that required me to embrace the new recording set-up.

The track isn't done, by any means - just my first emotional rendering for the new year. Equal parts texture and tension, it speaks of the ease of rolling in loosely-defined meadows before buckling down and allowing the inner monologue to kick in. What do you think?

Retrointrospection: In Brief

Just exactly who reads this stuff, anyway? If you're reading this, please leave a comment. Want to see if this thing is working. You've got plenty of interesting stops on the Information Superhighway to make, so I'm chuffed to bits that you've chosen to stop and have a scone or two here in my own little ghetto of the grid.

"Let There Be Peace On Earth" was released this month after missing the opportunity to release it during last year's holiday season. It features the incredible pipes of Benjamin Dehart: The Cracker Tenor and you can check it out here, if you haven't already.

Also, if you missed the album that flew under the radar, check it out here.
A project for the good people at Folkcraft Instruments.

Christmas is over. New Year's Eve is never a big deal around this household. A couple of movies. A bottle (or three) of bubbly. Kiss. Snuggle. Chill.

What this means is: time to dig in.

There's lots of exciting new stuff that's been developing over the past month or so and it's all been kept very under the hat. I'm looking forward to the Key West Dulcimer Fest in January, of course hoping that our good weather isn't on back-order come that third week.

Looking back on the past year, I see a lot of those days spent planning were put to good use. That just reinforces the time that I spend studying. Researching, working through test books and memorizing elements of music theory. Practicing scales, bouncing improvisations off of the wall. Sitting at the computer for infinite stretches of time putting it out into the universe; data salvo!

Times are tough all over and they're going to get tougher before they get better. That, coupled together with the ongoing studio improvements here at Casa de Milagro has seen a sort of bittersweet decision to sell a lot of my dulcimer collection to raise funds for equipment upgrades. To be fair, these were instruments that were not being played on a regular basis and would probably only be engaged on special occasions in the foreseeable future, though they'd all seen their share of stage-time. They each went to good homes where they'll be loved and played as a primary instrument, meanwhile leaving me with enough cash to do some shopping.

What I got (and what's on the table) will be the focus of the next couple of blog posts as we begin a brand new year of renewed production.

For everybody who reads this blog, watches "Dulcimerica", listens to my music or attends my workshops; if you've paid any attention to me this year: thank you. Somewhere between time wasted and a worthwhile time spent is a place where everyone is grooving to the same beat. Happy New Year and many blessings to you for a great 2011! The beat goes on.


If this year was any kind of forecast, then 2011 is going to be a great one for everybody (keep putting that good mojo out into the universe.)

"Dulcimerica: Volume 2" - NOW AVAILABLE!

Now available! You can preview all the tracks and download two full tracks as well.

The first 30 copies are signed and numbered - plus no shipping! I'll have some this week at McWell's for the December 8th edition of The Pub Thang.

The Dive Chronicles - "Speechless"

As production has once again resumed on "Dive!", I'll be posting some of the process here so you can get an idea of how this stuff comes together.

Above is a perfect example of how it starts - or not. Basically, this latest tune evolved out of playing a riff on the chromatic mountain dulcimer and then seeing what would happen with it after awhile - what kind of inspiration would come out of the notes. After laying down a basic drum pattern and some bass - it became clear that this would be a rocker of some sort. Seeking a comfortable spot for my voice to begin creating melody, I laid out some basic changes using piano, which would then get transferred to the chromatic dulcimer. I'm more familiar with piano voicings and part of my learning curve with the chromatic dulcimer is to take those voicings and then make them work with three strings. Or not.

Well, as it stood - I miscalculated the key for this tune - pegging it at F when I later found it to be much more easily sung in Bb. Notice in the scrawlings at the top of the page that I've been careful to write out the chord progressions using scale degrees such as I - IV - iii, etc. That way, if I decided to change keys again I could more quickly transpose the chords and, in some cases, the melody (which, in fact, happened.)

The tune, called "Speechless", takes some unusual twists and turns, but I wanted to use chord leading to make it feel more natural. Chord leading refers to the fact that some chords naturally lead to other chords.

For example, I'm beginning the tune in an odd way:

V - V - II - V
Fsus - F - C - F

Instead of starting on the I - which would be Bb - I've begun with a chord based on the V - which happens to be the 5th of the root chord. (Bb - D - F are the ingredients of a Bb major chord.)

Getting into the tune gets a bit more conventional. These scale degrees are based on the Bb major scale, which is: Bb - C - D - Eb - F - G - A. Remember that the chords and scales built off of the 1st, 4th and 5th notes tend to be major while the 2nd, 3rd and 6th tend to be minor with the 7th being diminished.

I - V - II- V
BbMaj7 - FMaj7 - C - FMaj7

The above is pretty much the verse progression. I've kept the scale degrees simple, even though I've chosen to use extensions on the I and V chords. Why not the II chord? Sounded too complicated. The progression moves three times this way, and the final way replaces the last V chord with a minor third or Dm. To my ears, with so much in a major key - the minor chord signals that something big and dramatic is coming in the chorus.

I - iii-II - I
Bb - Dm - C - Bb

There you have the chords of the chorus. It repeats twice before heading back into the verse. Pretty simple, eh? Except for the second time through when and additional Bbm6 chord serves as a very dramatic transition to the bridge.

Let me tell you, I had a devil of a time trying to figure out where the bridge was going to go after that crazy bit of color - and, after trying a number of things - this is what I ended up with:

iii-VI -II - VII -VII-iii -IV - vi - VII - VII
Dm - G - C - Asus - A - Dm - E - Gm - Asus - A

Here, I've completely leapt outside of the box and gone with changes that are very classical in a nature. Take notice of the Major VI - a recurring Major II and a Major VII. I've also included a minor VI as well - to really create a bit of urgency and darkness.

After this - the tune goes to the chorus progressions for a solo run and then one more pass through the chorus before ending. At just over three minutes long, it's probably one of my shortest tunes, yet it packs a powerful punch. Once I get a bit more polish on the tracks, I'll post it as an exclusive streaming track for members of my mailing list (so you still have time to sign up if you haven't done so already! You can use the form at the top left of this page.) In the meantime, here are the lyrics:

Speechless
Music and Lyrics by Bing Futch
© Copyright 2010 J.O.B. Entertainment Inc.

The door's closed, the light's out
and we got nothing to talk about
on my side of a one way street
don't know why I feel so incomplete

so much pain in your eyes
and it's my fault, one too many lies
in the darkness with a flashlight
searching for the words to make it right

CHORUS

oh - mercy me
can you see this? (see this)
oh - can't you see
that I'm speechless (speechless)

remember when we used to
talk for hours, I felt so close to you
but emotions met with violence,
damned the flow, now there's nothing but silence

and the time comes, and the time goes
still I'm comin' up with nothing but zeroes
forgive me or please try
let words, like rain, fall from the sky

CHORUS

oh - mercy me
can you see this? (see this)
oh - can't you see
that I'm speechless (speechless)

there's no way to begin
we can't go back again
the signs say that we're through
because of what I've done
I've ripped out my own tongue
how am I supposed to talk to you?

CHORUS

oh - mercy me
can you see this? (see this)
oh - can't you see
that I'm speechless (speechless)


That's it for this week - I've got quite a few new tracks for "Dulcimerica: Volume 2" recorded this week and will be working quickly to have that one mastered before the end of December. "Dive!", however, will continue to flow as I write new tunes and work with the ones already in production. I hope this process serves to shine a light on how songs go from idea to recording and if you have any questions, please don't hesitate to post them to the threads here.

Until next time -

"Juke Joint Hen" with Stephen Seifert at Suwannee Dulcimer Retreat!

Getting down to it.

Just got back from the Suwannee Dulcimer Retreat in White Springs, Florida and had a sweet time hanging out, playing music, teaching under the clear blue sky and catching up with friends old and new. I missed last year due to a scheduling conflict, so it was nice to be back. Stephen Seifert and I once again paired up on a tune. This time it was my already pretty messed-with version of "Cluck Old Hen" that I've tended to title "Juke Joint Hen." With him on bass dulcimer, we took it around the block a few times.

This was also the second time that I've taught a workshop on performing with your mountain dulcimer and it's been incredible, not only to see people stepping up and wanting to take their music in front of audiences but also, to have the environment to pause and reflect on my own journey from fledgling musician to professional performer. One of the key themes that is brought up has to do with The Gift. No matter what your spiritual beliefs might be, the living entity that is Music comes from some place deep within the soul which, in turn, takes its cue from the Divine. Music is a pretty magical thing, in playing, in listening, in communicating and sharing; it's probably the best thing that we engage in as humans. So, in taking this Gift that we've all been given and bringing it forth to share with others, you should be bold in your efforts. Banish away all fear, all butterflies and doubts, all hesitance and anxiety. For the gift of the Divine has been entrusted to you for the purpose of sharing with others. Whenever you sing or pick up an instrument and begin to communicate in that wonderful language, you are doing exactly what you need to be doing at that time. You belong there doing it, where ever you might be, and it doesn't matter whether that music is accepted or rejected - that's not for you to worry about. Just put it out into the world. You plant the seeds and someone else will water the garden.

11th Annual Patrick Smith Day

This Saturday, November 20th, I'll be participating in the 11th Annual Patrick Smith Day at Forever Florida in St. Cloud, Florida. It'll be a fun day of "storytelling, arts and crafts vendors, musical performances and special cracker cattle and horse demonstrations. It's the perfect day to enjoy the special "A Land Remembered" Coach Safari through Florida's wilderness, the setting for so many of Patrick Smith's great literary works."

Starting at 1pm and running into the evening, the mini music festival will include some of the best local folk and bluegrass musicians performing in a beautiful outdoor venue. This will be the third year in a row that I've participated in the fall festival at Forever Florida and it's really a beautiful time all around. I'll be taking the stage at 3 p.m.

The Pub Thang

"The Pub Thang", that odd mixture of traditional and modern music that I take to pubs, clubs, bars and grills now has its own Facebook page! Be sure to give it a "Like" if you've ever enjoyed the show (or want to) and help get it filtered out into the Facebook universe! Tomorrow night's show (November 17th at 7 pm) will feature special guest Big Ron Betts as well as the usual treat of The Simon Time Trivia Show beginning at 8 pm. 50 cent wings, drink specials and a good-timing crowd make for a fun weekly happening in Orlando! Hope to see you there!

Dulcimerica 179!

NEW Dulcimerica! #178

Catching Up With Dulcimerica

On Vacation

I've been relaxing for the first time in months! So updates have been either:

a) slow

b) few

c) nonexistent.

But that will change in November when I officially get back on track. In the meantime, I do believe the backyard hammock is calling.

Wrestling with it

This week marks the last of the major tour excursions for this year as I travel back to Beaumont, Texas for a show at the Logon Cafe this coming Saturday night and then carry on to Austin for a show there (while staying with Scandinavian dulcimer virtuoso Mark Gilston) and finally wrapping things up in Bennington, Oklahoma at the Winter Creek Reunion for an unprecedented second year in a row.

Besides my regular Wednesday night gig at McWell's and two more festival gigs in November, I'm pretty much done for the year 2010, which means a few very important things. More time spent at home with the family, in the garden and catching up on all the new projects that have been brewing over the past year. Honestly? I'm behind on my list of things to do. But this has been the busiest year of my career and a highly rewarding one - I just wish I had staff! Working for myself is highly rewarding, but you begin to reach a diminishing law of returns; a cap on what is eventually possible because one person can only do so much. Between making music, teaching, keeping tabs on all the administrative stuff, booking shows and festivals, shooting and editing video, etc., it feels sometimes like I'm wrestling alligators.

That's why I've slowly been removing things from my plate all season and trying to find a way to delegate some of what I do to others. That began in earnest this week as I discovered someone to take over designing reigns on my oh-so-cluttered website. What a blessing that is! I've also made a pretty big decision, though it wasn't too difficult. Except for my own productions, I'm no longer doing any videography work. It just takes too much time away from music, which has largely been the main focus for a couple of years. I may do the occasional outside project, if the price is right, but for the most part it will all be internal shoots and edits.

That frees up even more time to write, rehearse, teach and otherwise continue to "become." It's been incredibly humbling and flattering to have students, festival organizers, fellow instructors, performers and fans of music lay kudos on me, some with the idea that I've reached the top of my game. However, every day that I live and breathe is spent climbing the mountain because, as an artist, plateaus aren't the way to go. It should never be "it" - you should never have "enough." There's always room for improvement, clarification, imagining the possibilities. That sort of thing takes time and effort, continuously pushing for better. Every once in a while it's good to sit back and reflect upon the journey thus far, seeing how far you've come and what you've accomplished. Then, when you've caught your breath and become appreciative of your trip up the mountain, it's time to grab ahold of some rock and start climbing towards the next ledge heading skyward. Does the ascent ever cease? Not while you breathe, it shouldn't. The zenith isn't so much insurmountable as it is taller than your dreams. For each level you attain, your dreams shift and change, grow more vivid and include bigger things. And while you can always sit back and enjoy the fruits of your labors, there's always just a little something else that will plus that experience.

This fall is going to be a serious sort of mountain climbing - Half-Dome in scope. So many things I still wish to accomplish and won't be able to until I take slow, methodical action to engage the side of the cliff and put some sweat into it. Some of that may involve sitting down with an instrument and studying. Some parts may be simply existing with others, sharing life's moments and gaining inspiration from the day to day, or weeding in the garden and gathering wisdom from the soil. The School of Life is everywhere and all we have to do is look and apply.

But first, we have to make room for it in our rucksacks, or it will just fall down the side of the mountain. And at the bottom of the mountain are just a bunch of alligators, ready to be wrestled.

Dive!: The Update

As I posted here, the album Dive! is an ongoing work of raw passion that is serving as my personal psychotherapy. I hope it's enjoyable to listen to - at the same time that I'm not terribly concerned with that. The line between art and entertainment is very much intact with this one.

That said, it's taking quite a while to write and record for a number of reasons and I'm not going to rush it. Originally planned as a spring release, then a fall debut, now - I'm quite sure that it's going to drop when it damn well wants to, even though we're quickly approaching a usable number of tracks. It just doesn't feel complete yet - and until it does, work will continue. Some other recordings may surface before then - in fact, I've decided on a couple of concepts that will probably be out in time for Christmas, but we'll see. One will be called "xxx Days" and will reflect a stretch of recording whatever leaps into my mind for x number of days (be very scared of that one.) The other will be an instrumental album of lullabies. The first tune, "Dare To Dream" began to take form yesterday.

It's been a bit of a tug-of-war, recording Dive! As I've explained to a few people, it hearkens back the Castaway trilogy that I released in the late 80's - songs of such brutal honesty and vein-opening candor that I can't believe anyone actually bought the stuff. But that was the artistic outpouring of a young twenty-something still not quite sure what the deal in life was all about. Dive! is more reflective and, perhaps, still very restless. My biggest worry is that people will either be put off by the edge of it, or shocked by the admissions, or even still, convinced that everything they hear will be a statement of absolute fact and conviction. Some of this stuff will be fictional - and then again, some of it won't be. There's the danger - in trusting that people will know the difference.

Basically, I don't care.

To paraphrase Jesus in the Gospel of Thomas, what you've got in you, bring it forth and it will save you. What you've got in you, keep it hidden and it will kill you. Music is a pressure release, an avenue of emotion, and for so long, ever since those early records, I've kept myself just a little bit removed from the subject matter I sing. This summer, I began to take down the shields, open the curtains and once again let it all hang out. The response has been encouraging, and with that behind me - Dive! is once again chugging into balls-out territory.

Some of the songs I thought would be on the record are no longer passing muster, tunes like "April Fools" and "I Am An Artist". They've gone by the wayside in favor of fresher, more accurate tunes that will weave all of the album together into something that actually makes sense when listened to as a whole. The latest addition to the roster came about as kind of a surprise and basically wrote itself. Cobbled together and cannibalized out of a tune called "Your Dreams And You" which had lyrics written in October of 2006, the basic feel and chord changes came to me this morning while I was preparing to continue work on the lullaby waltz "Dare To Dream." Obeying the muse, and thanking her for returning this way, I leapt right into it, knowing that a chromatic dulcimer would be needed for the changes. Influenced by the great Sam Phillips and urged on by the recent work of She & Him, it's a deceptively perky tune about the falling away of scales, the healing of wounds through deliberate emotional self-mutilation; the retraining of a barren heart. This is "How To Cry":


How To Cry
Music and Lyrics by Bing Futch
© Copyright 2010 J.O.B. Entertainment Inc.

raindrops are falling from the sky
blue eyes have come to say goodbye
no reason to be upset
I've finally gotten used to it - since you taught me how to cry

I couldn't move and couldn't speak
back then I was such a freak
didn't know and sure didn't care if
the world reflected in my stare took notice - till you taught me how to cry

bridge -

every window shows a scene
close enough to touch, and when you do
fingers leave a smudge on the glass in between
your dreams and you

you came from miles and miles away,
didn't even know the time of day
found you sleeping in my yard
come, let's go stroll the boulevard - won't you teach me how to cry?

bridge -

raindrops are falling from the sky
this is where love comes to die
right here on the highest shelf
what's wrong, don't you recognize yourself - the one who taught me how to cry?
you're the one that taught me how to cry

You can hear a rough demo of this tune over at Reverbnation.

Now that things have slowed down a bit, I expect production to pick up on this album and the other projects. I've decided NOT to produce any more Mountain Dulcimer In The Band books until these recordings are finished. It's hard enough to focus without too many things going on at once.

That is the update - and I'm going back to working on this tune.

Dulcimerica 168 - "Key West Dulcimer Fest Pt. 10"

Videos from Bluegrass Creek

2010 Bluegrass Creek with Bing and Guy George.wmv

Aloha from Evansville, Indiana!

Check out video of me and Guy George performing "Shady Grove" and "Road To Lisdoonvarna" at Bluegrass Creek Dulcimer Festival.

http://www.youtube.com/watch?v=Ir_LQmkHffI&feature=youtube_gdata_player

This e-mail was brought to you by aloha and iPhone!

Travel

It's interesting what playing mountain dulcimer in an airport will do. People move closer to you, ask questions, and in what is ultimately the biggest blessing, thank you for playing.

It's a great way to pass the time between flights and also an opportune moment to introduce or re-introduce the instrument to people. One of my favorite things about flying with the dulcimer.

Cabin doors are closing - next stop: Evansville, Indiana.

Dulcimerica 167 - "Key West Dulcimer Fest Pt. 9"

Manitou music

We're en route to Denver after a crazy couple of days at the Mountain Music Festival. Manitou, the group, had a semi-reunion in the town where we were first brought together.

Dave Batti and Quintin Stephens weren't able to join us, but with the remaining collective (me, Robert Force, Roger Zimish, Bud Ford III and Judy Piazza.) on-stage, coupled with the magic of the area's energy, the spirit returned and the music flowed as it has always.

It's hard to blog in the vehicle, so until Denver....

Hello from Manitou Springs

Dulcimerica Updates!