ThiS iS hOw wE HAve To coMmuniCAte riGht NOW

   As I mentioned in previous posts, the third edition of "The Semantolkino'hara and Its Applications: The Eschaton, Musicology, and the Name of G-d" is in the works, to be published sometime within the next month. People should be supportive of the effort at long last. Look how good the cover is going to look, after all. Trust me, it will look even better in print. People thought the second edition looked very high res. when they saw the print version.     I'm having to rewrite and add significantly to the specific section that deals with eschatology in order to clarify that my original source of information was the Scriptures, and also in order to clarify the components of the "non-final consummations" of the ages vs. the "final consummation" of the ages, and other similar crucial distinctions. The 2nd edition wasn't exactly wrong, it is just that it could be extensively fleshed out for clarity. Let's just say I had left the mater

   The content of my book  The Semantolkino'hara and Its Applications has being wrongly criticized by people lately on just a couple points (I tend to have rabbit ears- that's a foible of mine I guess). The points comprising the flawed criticism are 1) the voice-leading of the examples in chapter one are not "airtight"  2) the choice of a specific harmonic progression as the main "template" (over other readjustments of the rows) seems too arbitrary or subjective. The next edition will answer these objections, and since I've already written out those answers to include in that edition, I will just provide those sections publicly right here. (for those who want it before the third edition, the second is available here  . "A NEW WAY TO THINK ABOUT PART-WRITING/ VOICE LEADING    The examples at the beginning of the book in Chapter One do not reflect perfect four part voice leading, because this whole book started as a small experiment to combine the

   So I uncovered and uploaded another different "live" performance of the Sullivan's Dog song "Lowzer" from our days of performing (notice how I play with the spelling on purpose to upset people who take things too seriously?) Please disregard my complaining in the previous post about the vocal balance in the other version and about it being the only surviving version. Praise God this other version exists so people can hear a version closer to how it should really sound. Oh yeah, for those who don't know, I am the guitar player on the left hand side who is difficult to see, but I am not the bass player on the left who can be prominently seen. My playing can be heard quite well in the intro, though.      And the video URL:  https://www.youtube.com/watch?v=T10OtiZFOZA&feature=youtu.be

     People wanted to learn the process by which I wrote "The Semantolkino'hara," and they seem to think the process is more valuable than the content of the book. Well....the book is really quite good and well-written. (It can be purchased here: http://www.magcloud.com/browse/issue/825648  ) The musical materials discussed are invaluable. The way the book came about is as interesting as the process used, and the way it came was infused together with the process used. The introduction in the book describes how I was thinking about everything, and kind of explains the process:       FROM THE INTRODUCTION:       "The writing of this book started with the idea of subjecting certain musical materials of my life to a method of human conjunctive analysis combining the objective tools of musical analysis with subjective human studies and theology, allowing for the possibility of reinterpretable studies. After a preliminary amount of investigation and feedback, I began to