I reversed the order of the thing in Bb and it makes the piece feel more alive and stimulating. I don’t know why but it works like that. After stating the first motif twice I need to move elsewhere and I’m trying something with four note arpeggios but it so far feels show off like which isn’t a good sign. Need to continue searching or else change my way of thinking. Dylan had a lyric like that on Street Legal or Slow Train Comin’, “gonna change my way of thinking, make myself a different set of rules”. Street legal wasn’t a popular record but a doozie for me, grew on me. The thing I love most about these pieces I’m writing is that they challenge my habits, they don’t work unless I’m embedded in another reality, one where if I make a mistake while doing them before an audience, I won’t have a hope in hell of fixing it. High stakes is what I’m saying.
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Street Legal was always one of my favourite Dylan records. It was a short lived, unique little phase for him. Blood on the Tracks and Desire were a phase. Those records sounded similar. Very acoustic sounding. The Christian rock stuff: Slow Train Coming, Saved, and Shot of Love was a phase. And then in between those two phases was Street Legal. Kind of on its own. Also the jump from Desire to Street Legal was enormous. Violin was replaced by a saxophone.