Chuck is stuck?

644 times.

And the last 40 or 50 are mostly European psychologists who are measuring.

They find themselves a bass player and a drummer and they do a funk rhythm and they do a jazz rhythm.

And then they subdivide it.

They manipulate these things so that they're more easily measurable.

And then ask people to say, does this groove more than that? And so on.

They're doing all kinds of research that is legitimate research.

mathematical, statistical measurements of time discrepancies, and then getting judgments from people, which is what I failed to do in the big issue of ethnomusicology that had articles by me and Joe Progler and Olavo Alen Rodriguez from Cuba, who did some of the same kind of measurings that I did, only he did it for Cuban people.

ensembles like Tumba Francesa, which is something that came to Cuba from Haiti, a drumming style that has cowbell beats and three, four different drums.

And he could show that certain hits on that cowbell were absolutely in a perfect synchrony with other parts, and then other beats were really loose.

It doesn't matter what you do with these two beats here as long as you nail the clave part of the bell beat or something like that.

I haven't been back to look at it exactly, but his point was that some things are rigid and some things are very loose, and that that in and out of rigidity or looseness is what's giving the life to the music, which is...

All that I was arguing.

So people all start from my initial premises, that things have to be a little out of tune to be bright and shining.

Piano, upper register, they tune it up perfectly, and then they go back and knock it out of tune to get the notes to be bright.

And the same thing with the low notes on an organ.

If sometimes you have this perfectly tuned pipe in the organ at Notre Dame for the lowest E that you can hit on the organ, and it just goes...

and it doesn't

vibrate the lead pipe or whatever it is.

And so they got to knock, you know, put some dents in here or let's do something so that the pipe will go, oh, we'll get a big sound.

The resonant frequency.

Yeah.

How do we get this damn big pipe to resonate? Because if we don't, you can be hitting the perfect E and nobody going to hear it.

So to get... audibility, get hearing of a whole bunch of people to be thrilled by this organ or by the upper register of a piano, you have to knock it out of tune a little bit.

And that gives it brightness and penetration.