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August 2014: Giant Lift (Elevator)

aldevis

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Note to lurkers:
This exercise can be life changing. A donation of some kind would be more than welcome.

Exercise 1 (concert key):
|B|G|Eb|Am7D7|
|G|Eb|B|Fm7Bb7|
|Eb|Am7D7|G|C#m7F#7|
|B|Fm7 Bb7|Eb|C#m7F#7||

Nasty but useful.
Writing a simple melody can be a first step.
Questions are welcome

http://www.aldevis.com/edu/IOTM/aug2014/giantlift1.mp3
http://www.aldevis.com/edu/IOTM/aug2014/giantlift2.mp3
http://www.aldevis.com/edu/IOTM/aug2014/giantlift3.mp3
http://www.aldevis.com/edu/IOTM/aug2014/giantlift4.mp3
 
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kevgermany

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Is this the nasty one you threatened us with?
 

kevgermany

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I got as far as 4/4. Apart from key, what's the difference in the backings?
 

aldevis

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This is the nasty one. Backings add secondary dominants.
v4 is the original orogression, much slower.
the major third movements are the essence.
 

Nick Wyver

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Did I suggest this? If so, sorry to everybody.
I'll get round to murdering it sometime.
It won't sound like JC.
 

aldevis

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Did I suggest this? If so, sorry to everybody.
I'll get round to murdering it sometime.
It won't sound like JC.

It should sound like Kenny G, hence the title.
you actually suggested it at original speed, to enjoy the crash scene.
 

BigMartin

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Yikes. Think I'll be giving this one a miss. Still trying to get my ears and fingers round ii-V-I. If it goes really well, I may be in that parish cafe by Christmas.
 

altissimo

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I didn't like the midi keyboard sounds on Aldevis's original backing track, so I set about processing his mp3's and it all got a bit R2D2...
some of the sounds on here originated from a saxophone, but the plug ins were too hard to resist and I got sidetracked trying to figure out how to use Reaper -
https://www.dropbox.com/s/xaqu6v5qw9m5umz/grim reaper 050814 rough mix 2.wav

will try for the Kenny G sound tomorrow
 
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aldevis

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Yikes. Think I'll be giving this one a miss. Still trying to get my ears and fingers round ii-V-I. If it goes really well, I may be in that parish cafe by Christmas.
Unfortunately it is mandatory.
The aim is to get used to change tonal centers jumping a major third. While the II V I keeps you on a familiar ground, this one develops your hunting skills.
I didn't like the midi keyboard sounds on Aldevis's original backing track, so I set about processing his mp3's and it all got a bit R2D2...

Naughty :)
KG would never do it.
 

BigMartin

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Unfortunately it is mandatory.
Unfortunately, I have temporary amnesia and can't remember what "mandatory" means. Is it some kind of device for slicing vegetables?
The aim is to get used to change tonal centers jumping a major third. While the II V I keeps you on a familiar ground, this one develops your hunting skills.
Which would be all very well, if ii-V-I was familiar ground. Even the Parish Cafe has too many keys for me to handle. Been learning "Take the 'A Train" for the umpteenth time lately but decided to do it thoroughly. The ii-V-I's are all in C (concert), except for the turnaround to the bridge in F. Even that's still a bit of a stretch for me, but I'm getting there.
 

BigMartin

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Stop thinking and wing it. Find your way through by ear trial and error.

[Didn't really mean to write an essay here, maybe this should be in a different thread.]

I hear what you're saying, but I've been doing that for a few years now, and I find it rather unsatisfying. It's not so much the errors that bother me, as the lack of ideas. When I really know and, more importantly, can really hear the harmony to something, I have more and better ideas popping into my head. I've decided to try the narrow but deep approach instead of the scatter-gun methods I've been using. For instance, I've spent the last couple of weeks playing rootless 9th chord (3rd, 5th, 7th, 9th, replacing the 5th with #11 on the D7's) apreggios on "'A' Train". Different inversions, upwards and downwards, up and down the instrument. It sounds tedious but, once you get into it, it's quite immersive. I'm hearing the chords much better now (and much better than I do on any other song), and finding the available sounds on the instrument without having to think (which is always fatal). I can play on the thing at about 120bpm now, and am working my way up to more realistic tempos.
 

fibracell

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I wrote a melody based on this progression, since you asked for us to write a melody, and I'm always up for a challenge!:rolleyes:

bN1mX0sU


and since the tempo is nice and slow,here's my version on alto..

https://soundcloud.com/fibracell/giant-elevator-iotm

I'm not a huge coltrane fan- too many notes, but I appreciate the coltrane changes, as in the Minzter etudes. No clue how anyone handles Giant steps at tempo, when the chords are flying by.

all comments/critique welcome:)

- Rob
 

aldevis

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and since the tempo is nice and slow,here's my version on alto..

https://soundcloud.com/fibracell/giant-elevator-iotm
Great version, both melody and soloing, and congratulations for really thinking horizontally.
I am not too keen of those F#s on a C chord, but it is just a matter of personal taste

I'm not a huge coltrane fan- too many notes, but I appreciate the coltrane changes, as in the Minzter etudes.
I am not familiar with them, could you please post a link to the books?
 

fibracell

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thanks Aldevis for the listen and comments - this sure is a tough assignment.

Not sure what horizontal thinking is?;) Yes it is tough trying to play a line or motif that works through the changes where there is only one chord tone in common (e note as in E to C).

There are a few lydian rasied 4th in the melody and improv, which to my mind worked since the F# links to the E chord and anticipates the F#m B7 cadence. I didn't use it in bar 9, after the the Dm G7.

Well that's my justification, but maybe I've listened to too much film music which uses lydian based motifs.:eek:

here are the 2 mintzer books, which are in my view just awesome. Some of them use coltrane changes in places, which sound great.

http://www.amazon.co.uk/Jazz-Funk-Etudes-With-Audio/dp/076923027X

http://www.amazon.co.uk/14-Blues-Funk-Etudes-Instruments/dp/1576235793/ref=pd_cp_b_3

Rob
 

aldevis

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Well that's my justification, but maybe I've listened to too much film music which uses lydian based motifs.:eek:

A very good reason to use an F#.
My grandmother's name was Lydia (but she had no tattoos), and she never liked the idea of me being a musician: a very good reason to play an F.
 

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