Travis Conrad

So, it’s about that time again…

That’s right, I have another new workout routine. Let’s see how long this one lasts. The previous one survived, what, three months? Probably less. ANYWAY!

Here’s the skinny. Follow along closely children.
1. I set three alarms on my phone. Each alarm should be a good 4-6 hours apart depending on your daily routine. I chose 9:30 AM, 2:30 PM and 7:30 PM.

2. When each alarm goes off, my phone says “20 push-ups”. And so (obviously) I do 20 push-ups. I can adjust the alarm to tell me to do less or more depending on how it goes.

3. The alarms go off every-day. Naturally there will be times when I can’t do it (like if I’m working) but for the most part if my phone tells me to do something I do it.

4. Depending on how the muscle groups react, I might switch one of the alarms to tell me to do something else (like bicycle crunches).

I think this idea is brilliant (naturally) for a couple of reasons. First off, it’s low impact but not LOW impact. There’s constant use everyday so it’s more of a gradual break-down rather than a huge wearing out at the gym. I chose push-ups because they work a wide variety of muscles (pecs, bi-ceps, tri-ceps, abs). Secondly, it can be easily adjusted if it ends up being too strenuous or not strenuous enough. And thirdly it’s all automated. I don’t have to worry about forgetting or slacking.

So, wish me luck! We’ll see how this goes. I’ll keep you posted if it ends up working.

In other news, I’ve been tweaking my rendition of O Canada for string quartet over the past couple days and accordingly updating the mp3 file in the previous post every time. I added a short 4 bar intro which I feel really adds a lot. Also, my good double-bass playing friend Dan Wheeler who’s in music at Western gave me some constructive criticism on the piece which made sense to me, so accordingly I broke up the constant motion of 8th notes by throwing in some 16th notes which help keep it exciting and less droning. I really appreciate good criticism, as long as it is constructive and not just someone trying to be a douche. If you don’t like something, say why. And if it’s just because you don’t like the style, then say that, but even if you don’t like it, you can still comment on the quality and form. That’s why I’m so lucky I have the friends I do, cause they get that.

I finished A Voicemail, Charlotte’s big solo number after her second run in with Kim. I’m about 97% satisfied with it. 1% is for the intro which needs more work and the 2% is for part of the verse music which I want to fiddle around with just a little bit. I really hope one of my leads on a female singer comes through soon to help me record it, so if you know anyone in London that might be interested, tell them to give me a shout.

-Travis Conrad

Aha, February is upon us. FINALLY. The last of month of what I consider Canadian winter is also (thank god) the shortest, and so before we know it March will be here and we’ll be living in a world of slush. Wait, what’s so good about that….. Anyway, I realized most of you probably feel neglected so I made myself a delicious citrusy cup of Coronation Street Green tea and decided to write a new blog post.

A couple days ago I wrapped up what is more or less Dysfunction’s love song, mind you the song isn’t about love at all. Budding romance would be a more fitting term I suppose. It’s called So Much, and it comes immediately after Charlotte’s Monologue. It’s a song about fresh romance and possibility, “So much to see, and so much to do”.

I’m really happy with the music for it, it’s easily my favourite song so far (which is saying a lot). After this my favourite is probably Charlotte My Dear Love (forget it) Confident you know what, I don’t think I can choose. This means Dysfunction is ALL-MOST-DONE. Be excited. There’s not much left at all (hence the title of this post).

So here it is, just with piano. Instead of the normal synth voices I used synth strings to do the vocal notes, I think it sounds better in the this case.

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- Travis Conrad

Before tossing up the latest Dysfunction song to your collective, judging, unworthy ears, it’s important to understand the scenario surrounding the song.

1. It’s sung by a girl, Charlotte. Relatively quiet, passive, scholarly Charlotte.
2. She’s just been asked on out a real date from a guy, Cameron, whom she’s met twice now: once in his office, once at a business meeting over dinner.
3. She doesn’t have a wide account of experience in the world of dating. And nearly not as much as, say, Kim (in fact I doubt there are many people alive that have as much experience as Kim, porn stars omitted).
4. This is song takes place in her head. It’s an internal debate.

Below the song I’ve posted the first couple lines so you can read along with the synth vocal notes if you like (also will help give you an idea of the rhyme scheme). The lyrics are broken up into syl-ab-les to aid in following the vocals correctly if’n you so choose. I’d include all the lyrics but I really don’t want to give it all away like your girlfriend on the first date OH BURN!

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Damn-it Came-ron why would you,
ask me that,
for-cing me to pick an an-swer, when there are few op-tions on de-mand.

Things were go-ing pret-ty well.
Now this chat
has gone to hell. It’s a can-cer when you can’t dwell on the stakes at hand.

Peo-ple can’t leave things a-lone,
when they’re fine.
If I had known this was com-ing, I’d have post-poned walk-ing home with him.

But it’s too late to go back,
so de-cline,
or stay on track with this hum-ming train down tar-mac. Both op-tions seem dim.

On the one hand we have yes.
Rush-ing in’s
not bad I guess if you’re cau-tious and you a-ssess the sit-u-a-tion.

On the o-ther we have no.
It be-gins,
when I say so, and this nau-seous feel-ing is grow- ing. I want to run.

</lyrics>
<continue reading without lyrics for the remaining 55 seconds of the song :] >

I know what you’re about to say. “But Travis, that last chord sounds all wrong. What kind of second rate Vaudeville composer are you?” Fear not! There is reason. That chord was Charlotte’s clarity. She’s made her decision, her thoughts are clear. That final chord is meant to up-lift and remove the gloom and disorder that’s been building up over the course of the song. It ushers the way into the song following immediately after. hu-ZAH!

Next up I am pleased to announce a new, much more realistic rendering of the Festal Waltz that I posted just over a month ago. I convert it from midi to mp3 using a site called HamieNET. It gets the job done but it’s certainly nothing near commercial quality. Using a friend’s copy of Garageband, I converted my sheet music to mp3 once again. The results are unparalleled. UN-FREAKING-PARALELLED. It’s fantastic, I’m so pleased. I can’t wait to acquire my own mac so I’ll have this incredibly tool at my disposal 24/7/365/152 (I think 152 more years is pretty reasonable when you take into consideration the advances that are going on with stem cell research).

Feast upon the new and improved rendition. I cannot wait til I’m in a position to hear it being played for realsies.

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*note: the celesta’s been replaced by a glockenspiel as was the original intention. I apologize for any sleep you might lose/any grief this decision has caused you.

*also note: just a reminder that all mp3 files and images are on this website are Copyright © 2008-2009 Travis Conrad Reichstein

-Travis Conrad PEACIN’ OUT!