Artemus's June Mtp Thread, Weekly assignments and uploads here Options

[Pedja Simovic]

Art as I am aware of your current situation, I will go easy on you for remaining 2 assignments

3rd assignment :
Analyze chord progression with roman numerals

- Analyze following chord progression using roman numerals.
- It would be good if you wrote couple of sentences pointing out what you noticed in the chord progression (cadences, modulation, secondary dominant chords, modal interchange, II V I patterns etc)
- Post your response in this thread.

//: Amin7b5 D7b9 / Gmin7 C7/ Cmin7 F7/ Bbmaj7 Ebmin7/ Abmin7 Db7/ Gbmaj7 Cbma7/ Cmin7b5 F7/ Bbmaj7 ://


4th assignment :
Lesson for REC

- Pick one of the these two lessons found HERE and HERE
- I am providing backing tracks for both in case you want to work on the both!
- Record a video along with backing track provided and submit it for REC.
- Post your work in this thread!




Deadline for these 2 assignments is 30th of June.

Let me know if you got any questions!

Pedja

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This post has been edited by Pedja Simovic: Jun 19 2010, 10:37 PM

[Artemus]

Ok, I'm back online now but as you know, I'm now studying all hours until the end of the month and have no time for sleep, let alone music. So before I do disappear into the text books and journals, I'd better put my work up for you.
Alas, I haven't done you're lead sheet with simple melody/harmony but I could if you still wanted me to. Although, it'll will have to wait a bit.
Anyhow, sorry for the delay on this - I hope all the hard work I put into it makes up for it

Firstly, here's the transcription in guitar pro:

 Raiders.gp5 ( 137.77K ) Number of downloads: 125


Since I didn't (and wouldn't) write this in guitar pro - exporting/importing the midi files between programs has messed up the rhythms and groupings, and I haven't the foggiest how to correct without tediously going through each note again. Therefore, I've printed to pdf from Sibilius - much easier to read, although, still some of the groupings are not displayed correctly. Trust me, I did write this out properly, but using Cubase score editor - it looks fine on there. D'oh! Anyway.. here:

 Raiders.pdf ( 284.22K ) Number of downloads: 516


And finally, here's where my hard work went - into recording it using EastWest Quantum Leap Symphonic Orchestras (Gold XP), paying particular attention to articulations to try and get the right feel. I'm not happy with it entirely, but I guess it's ok for a week's work. Given more time I could improve it. So, here.. enjoy (I hope):

 Raiders_March___Transcription_thru_EWQLSO.mp3 ( 7.25MB ) Number of downloads: 184



NB - the transcriptions uploaded don't include some of the instrumentation (not figured out how to use more than 16 midi ports for guitar pro etc) but I only left out things like snare drum, harp, triangle - all stuff you can hear in the mp3 - and everything you hear there is pencilled in by yours truly, using the score editor.
Also, since this was done 100% by ear, I can't guarantee I've heard all the instruments or figured out all the notes - what I've written is just what I can make out.

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This post has been edited by Artemus: Jun 22 2010, 03:14 AM

[Pedja Simovic]

Love it, enjoyed listening to it at 4:22am!!! Fantastic man. Sent you a message, whenever you get a chance respond.

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[Artemus]

Glad you liked. I see no message by the way.. perhaps there's an early morning delay

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[Pedja Simovic]

I just sent you PM , you should get it now

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[Frederik]

Wow artemus!

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[Artemus]

Finally got round to this - after Monday I was really busy and then when I did come to do this assignment, I couldn't get a stable internet connection. Better late than never though. Firstly, here's the REC video. I opted to do the arpeggio study. I know my arpeggios and this is a nice laid back, happy little exercise that put me in a good mood. Perhaps too much though - I went a bit silly.. why not? It's alright to have a laugh - as long as I play the right notes, yeah?



Now onto that chord progression you gave me:
//: Amin7b5 D7b9 / Gmin7 C7/ Cmin7 F7/ Bbmaj7 Ebmin7/ Abmin7 Db7/ Gbmaj7 Cbma7/ Cmin7b5 F7/ Bbmaj7 ://

Hmm.. interesting chord progression. This one has given me some cause to stop and think, especially regarding the first couple of bars, Cm7b5 towards the end and the modulation half way through. Anyhow, I'll write my thoughts down as I go through it with regard to the aspects you mentioned, namely, ii-V-I patterns, cadences, modulation, secondary dominants and modal interchange.

As it is, I've not written progressions in terms of the roman numerals since I studied some theory as a kid, however I tried going from the first chord. Before that though, I just played through the chords and listened to the sound. The overall contour seemed to me to be a kind of progression in fourths in one key, then changing to another key and continuing this fourths progression (or rather resolving down in fifths), before changing back to the original key and resolving. So, most importantly, I thought – what does it resolve to? Bb major seventh. Ok, so it wouldn't be a bad guess that I'm in Bb major.. With that in mind I begin, starting with Am7b5

vii V7(b9)/ii | vi V7/V | ii V | I (ivb7) …

...but then I don't seem to be able to go further: Abm7 has a Cb, as does Db7.. definitely not in the key of Bb major, or its relative minor or its parallel minor, and I can't tonicise anything to Bb major with those chords. Fair enough – what key is it? Taking Bbmaj7 as the end of that phrase (I wouldn't end a phrase with a borrowed chord), starting with Ebm7, I notice all the chords are nicely sitting in Gb major and I get a familiar

...vi | ii V | I IV ...

...looking ahead to the last three chords, this subdominant leading back into Bb major with a concluding

..iiØ7 V | I ||

So, the obvious ii-V-I progressions are Cm7 – F7 – Bbmaj7 (ii-V-I in Bb major) and Abm7 – Db7 – Gbmaj7 (ii-V-I in Gb major), and there's the ending where the Cm7b5 beautifully leads the Cbmaj7 back to the original key with a Cb to Cnatural ascent (I really liked that). However, my eye was draw to the opening few chords. I confess I haven't studied many progressions, but I've more often come across a m7b5 – 7b9 change towards the end of a phrase before the ending chord that it resolves to, but then I thought that it could be like a minor ii-V-I progression. In melodic minor, I'm used to a ii-V change with a half-diminished chord going to an altered dominant (my favourite), resolving to whatever. So, as I understand it the m7b5 chord is a half-diminished seventh chord and can be played over Locrian in major or Locrian #2, or sixth mode, of the melodic minor – that flatted 2nd of Locrian isn't played in the chord. Also, although I think of the 7b9 as an extended diminished chord, it echoes the dominant function and b9 is just one of the altered tones. So that could be a ii-V in G minor with the Eb (D# of the D7b9) outlining a harmonic minor. However, I'm not sure this leads to the Gm7 with its F natural, which is only part of the natural minor – so we jump into Bb major with G Aeolian. Oh, but wait a minute, what am I saying? Of course it does – G natural (the seventh of Am7b5) to Gb (the third of D7b9) to F natural (the seventh of Gm7), so we've got that seventh – third – seventh leading going on (am I right?). I also figured that D7b9 acts as a secondary dominant for the tonicisation of Gm7 – so kind of a V7/ii to vi although I'm not sure how the b9 is notated.
Anyhow, Gm7 and C7 are ii-V in F major where the C7 brings a not so subtle change as E goes to Eb for the ii-V-I in Bb major. Now I'm not exactly sure what this C7 officially functions as. Yeah, I wrote it as a V of V in Bb major but it doesn't immediately resolve to F7. Perhaps you could enlighten me. If I was mucking about with this progression (which I have) would I be excommunicated from the music world for doing the following: Am7b5 to Adim, D7b9 to D7alt, Gm7 to Gmin-maj, and C7 to C7#11.. I figure if I start with something reminiscent of a minor ii-V-I why not just stay in the melodic minor until closing it off with a major ii-V-I in the relative key?

Moving on, the Ebm7 starts the next cadence, modulating to Gb major so that the whole cycle of fourths progression can continue (even if it is half way through the measure – nice, quirky, I like). When I played this I thought that adding the 9th sounded nice. Otherwise, this bit is pretty straightforward vi-ii-V-I.. and then IV leading into the modal interchange in Bb major using a half-diminished build from Bb minor to give a nicely coloured ii(Ø7)-V-I ending in Bb major.

Ok. Those are my initial thoughts. I've probably got it all wrong or missed loads out, but this isn't my area of expertise and I haven't done anything like this for many years. Nevertheless, I'm keen to learn more

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[Pedja Simovic]

Good work Art. I am very happy with your thinking process. We will talk more about this chord progression in the future but basically you have to go by the sound and decide whether the beginning is in Bb major or G minor, after that analysis is pretty easy to figure out. We will also work on some standard harmony analyzing using symbols like IImin7b5 V7b9 instead of things you wrote like vii etc

Very happy with work we covered in June. Lets hope July will be as productive. I am waiting for other members to finish their work but if that doesn't happen by tomorrow, I will open threads for you guys that have done it (5 of you currently).

This thread will be locked now for GMC management purposes.

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