Sorry, Leute: Dieser Mischmasch ist in Deuglish geschrieben. Aber ich meine keine disrespect. Ich muss einfach immer auf Englisch verfallen, weil mein Deutsch schlimm ist. Vielleicht werde ich irgendwann richtig Deutsch lernen. Doch mein Ziel im Moment noch ist: ein bisschen literarischen, philosophischen, kulturellen Wissen zu lernen; und viel Spaß zu haben. Ich möchte auch, ab und zu, wie ich typischerweise in "broken German" wursteln zeigen.   :)

Es ist das erstes Mal, dass ich ein Lied mit richtiger Musikbegleitung aufzeichne. Es klingt schöner als a-cappella zu singen, weil der Rhythmus für dieses Stück sehr wichtig ist. Die instrumentale bridge passages übergängen auch die Verses. Sie würden sonst ein bisschen komisch aussehen (abrupt jumps). Aber mit Begleitung zu singen, ich brauche auch mehr Übung. Wenn man nur in freestyle timing mitsingt, wäre das viel liechter.

Ich habe die instrumentale Begleitung-Version von einer frz. Firma gekauft, und ich finde es hammer. Es klingt fast genauso wie das Original, mit einem großem Band: Schlagzeug, Perkussion, Bass, Akustikgitarre, Elektrogitarre, Rhythmen-Elektrogitarre, Klavier, elektrisches Klavier, synth Pad, Strings section, Brass, und die schöne backing vocals für den Refrain. Uiii!

Komisch... Wenn ich die Begleitung kaufte, besorgte ich auch den Version 1 Tonart niedriger, weil das für meinen vocal range geeigneter wäre. Aber am Ende aufzuzeichte ich in Helenes original Tonart. Ich dachte: falls ich einmal einen Duett mit ihr machen muss, wäre ich bereit. Man weiß ja nie! ;)

Nee... Ich entdeckte, dass ich finde eigentlich die Änderung des Tonart ziemlich "disturbing". Und das ist kein Wunder. Ich meine, nach dem 1000 Male Mitsingen (echt laut singen, wenn ich alleine war; auch im Kopf "singen", wenn ich "out-and-about" war). Ich höre zu es bei Schlangen warten, auch wenn ich sauber mache und jogge. Man kann sagen, dass ich ganz vertraub bin. Es ist sogar ein Teil mir. Voll verrückt!

The following is a complete rewrite (not translation) of the above in English, to show my thoughts in more accuracy and details:

My apologies in advance: This mishmash is written in Deuglish. I mean no disrespect (by butchering the language). I simply must oft resort to English fallback, due to my limited proficiency. While I might eventually endeavor to properly learn German, I have yet to actually make such a commitment. My current goal still is: to gain rough access to a whole new world of literary, philosophical, cultural knowledge/experience; and have fun while doing it. I also think it's interesting to show how I typically muddle along in my "broken German."

This marks the first time I'm recording with proper musical accompaniment. It really sounds much better than singing a cappella, because the rhythm adds a lot to the character of this piece. The various instrumental bridge passages also make the verses fit together. They would otherwise appear as abrupt jumps (if I simply skip them), or very distracting gaps of silence (if I were to duly follow the measures of rest in the vocal part). However, singing with accompaniment also increases the training efforts significantly, as precise timing is critical. The slightest mistake would make the whole thing fall apart. In contrast, casual singing with freestyle timing is much more forgiving.

Back in mid-January, I did receive some coaching on pronunciation when I learnt to sing the first song for public release: Nur wer noch träumen kann. All subsequent songs were learnt entirely by myself independently. Any feedback or advice was received after my initial release.  Oct. 25, 2011

I decided that it'd be well worth the small investment for the authentic instrumental accompaniment version. It's made available by a French company, and I'm very pleased with the quality. They emulate the original arrangement nicely, down to the minute details. It's richly orchestrated with what sounds like a 20-piece band: Drum kit, percussion, bass, acoustic guitar, electric guitar, rhythm electric guitar, piano, electric piano, synth pad, strings section, brass instruments, and the all-important backing vocals for the chorus.

Interestingly, when I bought the accompaniment track, I also got the version 1 key lower, since that'd be more appropriate for my vocal range. In the end, however, I decided to record in the same key as Helene's original. I suppose, I was subconsciously thinking: in case I'm invited to sing a duet with her some day, I'd be prepared. One never knows! ;)

I know, I know... I'm definitely going to keep my day job! Don't worry!

Nah... the real reason: Once I started recording, I discovered that I find the change of key to be somewhat "disturbing." And is that really so surprising? I mean... after singing along countless times (out-loud, when I'm alone; as well as "singing" in the head, when I'm out and about). To say that I have become so accustomed to it would be an understatement. I listen while I'm waiting in lines (queues), when cleaning and jogging. At this point, it's in my blood, in my sweat! Ultimately, it was actually easier to strain myself a bit during the chorus and bridge sections, than to constantly remind myself to shift key. It's amazing how one's brain can, over time, be hardwired to the absolute pitch of each note, not just the relative pitch of the melody.