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> Madfish's Composition Corner
Cosmin Lupu
post Sep 4 2012, 02:07 PM
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QUOTE (Madfish @ Sep 3 2012, 09:16 AM) *
On to Ben's Vibrato Odyssey I go then smile.gif


When can I expect the first take? biggrin.gif


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Madfish
post Sep 25 2012, 08:22 PM
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Welcome back Cosmin! biggrin.gif

Take one. Could you take a look?
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Cosmin Lupu
post Sep 26 2012, 09:07 AM
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Hey there amigo! Very nice, I have nothing to object about it!! What say you, should we aim for the second one? biggrin.gif


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Madfish
post Sep 26 2012, 09:20 AM
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QUOTE (Cosmin Lupu @ Sep 26 2012, 08:07 AM) *
Hey there amigo! Very nice, I have nothing to object about it!! What say you, should we aim for the second one? biggrin.gif


Yay, thanks! biggrin.gif Will post it to REC then.
Sure. Vibrato Odyssey part two it is. I'll do my best to get back with a take quicker this time wink.gif
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Cosmin Lupu
post Sep 26 2012, 10:34 AM
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Off to the REC take then! Looking forward to see the next one wink.gif


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Madfish
post Sep 26 2012, 03:56 PM
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Oh ... and could we do some theory in the meantime?
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Cosmin Lupu
post Sep 27 2012, 11:28 AM
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QUOTE (Madfish @ Sep 26 2012, 02:56 PM) *
Oh ... and could we do some theory in the meantime?


Sure thing - what would be your main interest? smile.gif


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Madfish
post Sep 28 2012, 11:36 AM
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QUOTE (Cosmin Lupu @ Sep 27 2012, 10:28 AM) *
Sure thing - what would be your main interest? smile.gif

That is a good question smile.gif I'd like to reach the point where I understand what I play.
For instance, the Soul/RnB lesson by Stefane. Could we brake it into pieces? I know the progression and the key ... but I guess there is something more to learn from it. Or there isn't? smile.gif
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Cosmin Lupu
post Sep 29 2012, 12:27 PM
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QUOTE (Madfish @ Sep 28 2012, 10:36 AM) *
That is a good question smile.gif I'd like to reach the point where I understand what I play.
For instance, the Soul/RnB lesson by Stefane. Could we brake it into pieces? I know the progression and the key ... but I guess there is something more to learn from it. Or there isn't? smile.gif


Oh wink.gif I get ya! Sure thing, let's break it down! First of all, you should be able to use the 'input data' to your advantage in every situation out there wink.gif So, tell me, what can you deduce so far from knowing the chord progression and the scale used?


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Madfish
post Oct 1 2012, 07:46 PM
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QUOTE (Cosmin Lupu @ Sep 29 2012, 11:27 AM) *
Oh wink.gif I get ya! Sure thing, let's break it down! First of all, you should be able to use the 'input data' to your advantage in every situation out there wink.gif So, tell me, what can you deduce so far from knowing the chord progression and the scale used?


Not a lot I'm afraid smile.gif

It's in D major, so we've got two sharps - F# and C#. That also determines what we can play over it: D major and/or B minor.

The harmony is: I, v, III, vii, IV. Actually it's F#7 instead of F#m7. Stephane mentions that it resolves to Bm. Why? ... It probably also means we could use A# for the licks.
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Cosmin Lupu
post Oct 2 2012, 09:15 AM
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Hey mate, this is a very interesting example - turning the iiird minor step into a dominant 7th V step. B is the 6th step of D major and if you harmonize the D major scale, you will find out that the Bm chord can be extracted from the 6th step. I shall look up a more thorough explanation, as it seems like this is a great harmonic trick - I mean the one with transforming the m7 into a 7 chord biggrin.gif

Well, my idea here would be to analyze each chord change and see what notes are being played. Now, you mustn't think like that all the time, especially when improvising and writing music, as these can be explained but they are not implemented there like maths. The analysis AFTER playing something, is a good thing!

Let's take the first progression - what notes were played and what is their relationship with the chords against which they are being played?

Cosmin


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Madfish
post Oct 6 2012, 09:07 PM
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QUOTE (Cosmin Lupu @ Oct 2 2012, 08:15 AM) *
Let's take the first progression - what notes were played and what is their relationship with the chords against which they are being played?


Hey Cosmin, finally found some time to sit on this. Took a deep look into the first progression and this is how it goes. It occurs 5 times in the whole piece:
1. Starts with D chord. There is a Bm pentatonic lick that ends with an A chord.
2. Starts with D and F# notes (I and III of D). Then we play the same notes again in different position to end with E and C# (V and III of A)
3. Again starts with D and F# followed by a Bm pentatonic lick (F#, D, B, F#) that ends with A chord.
4. Starts with an A note followed by B minor pentatonic lick - B, D, A, D. D and A are I and V of D major.
5. Here we just play A, D and E (the lick ends on E). A and E are I and V of A major, while D and A are I and V of D major.

Is this any good?

This post has been edited by Madfish: Oct 6 2012, 09:11 PM
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Cosmin Lupu
post Oct 9 2012, 09:11 AM
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Yes it is mate smile.gif You have analyzed what's happening inside - in this way you have seen the functions of the notes and their relationship with the chords. I like doing this with the stuff that I learn/ write as it represents a constant reminder of the theoretical concepts applied in real situations. We can try this with many lessons and at some point you will develop an analytic eye smile.gif A sharp one wink.gif


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