test please delete

[smee.again]

13543

+1

[DS23]

160 or so to go.

[DS23]

wonder if i could do it today?

[smee.again]

wonder if i could do it today?

Easily....

[Diver]

Nigeria.
There was a place to avoid at all costs.
Thieving sods will nick anything that's not nailed down.
One of the lads parked the truck up to take a dump in the bush.
woke up naked except for one sock.
Truck gone, drivers mate missing, he had to walk naked 15 miles to Abuju.
Truck was found in camaroon a week later empty, with wheels and engine gone, drivers mate turned up delerious in a small village about six miles from where the truck was taken, been stripped, given a good kicking and dumped out as the thieves drove through the village, elder sent someone to Abuju for the police. took them two days to respond.
Don't know what it's like now though, have to have a google.

[DS23]

if i stick my head down and get a riddum going i can get there.

[DS23]

Standards that are used for jazz often have a 32 bar sequence with an AABA form. It is usual (but not compulsory) for a band to play the melody (head) at the beginning and end of the piece, with improvised solos between over the repeated chord sequence of the melody. One very common chord sequence is that of George Gershwin's I Got Rhythm, though usually with an original head and without the final 2 bar tag. Jazz musicians sometimes refer to this sequence as Rhythm changes. Along with the 12 bar blues sequence, this sequence was almost the anthem of bebop. The chord changes are of course subject to regional/stylistic variations. ex 13a shows a typical sequence based on I Got Rhythm.

[DS23]

did he get done over before, during or after taking the dump?

[DS23]

and why one sock? is that some kind of tribal signature? "ooh" say's the inspector "it must have been the 'one sock gang' - you're lucky to be alive mate"

[DS23]

ex 13a I Got Rhythm

This sequence shows two important variations:

(a) bars 5-6. (ex 13b-1) This variation uses chord IV minor which is altered to accommodate the passing note descending melody (or bass) line. (See chapter 7 - modal interchange).

(b) bars 13-15. (ex 13b-2) #IV diminished is used to accommodate the passing note ascending melody (or bass) line.

Both are common in Rhythm changes but would not usually appear in the same tune or at least not in the same chorus. I have shown them here together for convenience.