Word: glissando
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Dates: during 1970-1979
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Just as Kushnick experiments with sounds and perceptions, Jeannie Lieberman sees herself as "a psychic emotional jiggler" who asks herself "deep root questions," and expects the listener to do the same. She uses her voice as an instrument, experimenting to discover the right texture, color and feel. The rising glissando in the second verse of "Velvet Sportcoat" abruptly alters the mood set by the song's first verse, and underscores the words: Haze like juice spilled slowly formless/Scent of citrus in my ears." In one of Johnson's compositions, "Instrumental," Lieberman makes bird like sounds that are almost primal...
...floor on her bottom like a geometric snake, slithering effortlessly upward, feet first and legs spread, over Cragun's waiting shoulders. Tetley amazingly seems to have taught his dancers how to bow their hips into trompe l'oeil convex forms. The two couples slide through a visual glissando of sexual exercises so explicit yet so subtle in execution that the intimacies never shock -except perhaps with the revelation of the extreme possibilities of what a dancer's body can be made...
...guitarists to rely consistently on the lower registers of his guitar. "Don't Want to be Alone" another original, opened with some lower register, bass string single picking, until he found a riff that pleased him. Beck also tends to work off one riff until he tires. A large, glissando chord took the band into Dylan's "Tonight I'll be Staying Here With You." Carmine Appice's vocal was strained a bit, but the guitar work brought the song off. Beck has learned to achieve a double-tracked guitar sound by working in the middle registers of his fretboard...
...blamed on the Business School's new auditorium--which is, after all, given the Harvard artistic milieu, a real sign of progress: no sirens, no uncontrollable drafts, moderately comfortable seats. One can readily forgive a great many performers' foibles--harsh sounds resulting from nervousness, an occasionally self-indulgent glissando, embarassing intonations in enharmonic modulations, ostentatious riccochet bowings which don't synchronize--and so on. But when the composer's written indications of expression are disregarded, and extraneous ones interpolated for the 'luscious' effect of the moment; when the long, harmonically-directed phrases so characteristic of the composer's style...