IOTM February 2014 IOTM- Pruple Bozza

[aldevis]

I promised I would have done it:

The progression can be seen as a short ABCB where
A= Cmin/ Fmin
B= II/V/I of Cmin
C= II/V/I of Db major

1- A non-modal approach would have arpeggios up to the 9th on each chord. Enough to play some music describing the harmonic sense. A is by its nature more static and can be see in a more Cminor way, avoiding the famous 6th on the first chord.
The m6 of the Cminor key is around, as 3rd of Fmin, b5 or b9 of the II/V/I

(Please note the debatable use of numbers: Arabic numbers describe notes, Roman number describe chords)

2- A modal approach: you work it out, I don't like it and luckily no clip seems to use it. Aeolian, dorian, locrian, altered phrygian (yes, on G7b9), aeolian, dorian mixolydian, aeolian....
If you are fast enough, the only interesting thing could be squeezing a G altered scale on G7b9, maybe anticipating it from the Dm7b5.

3- Good old melodic based (Italian) classical theory.
A and B are in Cminor. Trying to avoid the painful notes (4th on dominant and m6 on minor chords) the scale will be: Cminor. Cminor natural on A and most of B. C harmonic minor on G7b9.
C is in Db major

(all chords are concert key)

I need a coffee now.

 

[Sue]

Here you go. Well deserved

 

[Jamesmac]

Gorgeous tone indeed.
Is that PillingerNYT/Conn?

Thanks, praise indeed from the master. It's the JJDV.NY

 

[Jamesmac]

I am 🙂

Nice one Jim

Jx

Thanks Jeanette . Much appreciated.
As Eric said. I played all the correct notes, but not necessary in the right order.😉

 

[Sue]

I am 🙂

Nice one Jim

Jx

Me too. Loved it Jim

 

[Jamesmac]

Me too. Loved it Jim

Thanks Sue.🙂

 

[BigMartin]

I promised I would have done it:

The progression can be seen as a short ABCB where...

Thanks for the analysis. I've been struggling to learn this one, even though I've played it (badly) before. I partly wish I hadn't helped choose the name now, as I feel a bit (self-)pressured to produce a recording. Still, thare's a couple of weeks of Feb left.

Mostly been using approach 1. But, no matter how many times I go through it, the key change at bar 9 always takes me by surprise. I'm having real trouble acquiring the basic skill of keeping my place, even in a fairly simple chord sequence and gentle tempo like this. Does anyone have any tips for how to work on this?

 

[Chris]

IOTM. Take Two.
There is so much more to this piece/ex. Looking forward to my Take 3.
I not sure any of you are LOL.
https://soundcloud.com/jimisax/iotm-take-two

Each time I play it something new comes out Jim. As Aldevis said great tone, plus full of good ideas. As for a 3rd version why not, looking forward to it.

Martin you could try playing through using the just the roots of the chords, then the 3rds, then try joining them together.

 

[BigMartin]

Martin you could try playing through using the just the roots of the chords, then the 3rds, then try joining them together.

Thanks. Yes, one note to a bar is OK. By the time we get to four int a bar I'm really struggling to keep up and eight is just hopeless. It's kind of embarrassing but I don't know what to do except keep bashing away.

 

[aldevis]

no matter how many times I go through it, the key change at bar 9 always takes me by surprise. I'm having real trouble acquiring the basic skill of keeping my place, even in a fairly simple chord sequence and gentle tempo like this. Does anyone have any tips for how to work on this?

Two exercises:
1- Take one long note from the first chord and try to move the smallest step available to a not belonging to the next chord when the chord changes. Boring, bat it gives you a feel for changes. Start with concert C , then G
2- Take a high note and move down every bar, always landing on chord notes (to the 9th).
Then the other way.

you could try playing through using the just the roots of the chords, then the 3rds, then try joining them together.

1, 3 and 7 define almost all chords. Try to be familiar with them

After a while, forget everything and just play.

 

[aldevis]

Yes, one note to a bar is OK. By the time we get to four int a bar I'm really struggling to keep up and eight is just hopeless.

Sarcasm coming:

You should aim to 32 notes per bar, so people will think
you are good because you are fast. 🙂

 

[Ivan]

I promised I would have done it:

The progression can be seen as a short ABCB where
A= Cmin/ Fmin
B= II/V/I of Cmin
C= II/V/I of Db major

1- A non-modal approach would have arpeggios up to the 9th on each chord. Enough to play some music describing the harmonic sense. A is by its nature more static and can be see in a more Cminor way, avoiding the famous 6th on the first chord.
The m6 of the Cminor key is around, as 3rd of Fmin, b5 or b9 of the II/V/I

(Please note the debatable use of numbers: Arabic numbers describe notes, Roman number describe chords)

2- A modal approach: you work it out, I don't like it and luckily no clip seems to use it. Aeolian, dorian, locrian, altered phrygian (yes, on G7b9), aeolian, dorian mixolydian, aeolian....
If you are fast enough, the only interesting thing could be squeezing a G altered scale on G7b9, maybe anticipating it from the Dm7b5.

3- Good old melodic based (Italian) classical theory.
A and B are in Cminor. Trying to avoid the painful notes (4th on dominant and m6 on minor chords) the scale will be: Cminor. Cminor natural on A and most of B. C harmonic minor on G7b9.
C is in Db major

(all chords are concert key)

I need a coffee now.

Gordon Bennet

This is like reading chess moves

But I think given time and study I'll be able to hang onto the coat tails of what your are saying

 

[Jamesmac]

I have deleted the BT by mistake, but the link is not loading to Box.
Thanks.🙂

 

[Ivan]

OK

I've done a bit of study

But I'm struggling to shoehorn the
A= Cmin/ Fmin
B= II/V/I of Cmin
C= II/V/I of Db major
progression into the chords as written on the sheet (it is the tenor sheet is it?)

Any chance you could say between which bars the ABCA changes happen please Aldevis

Ivan

Please send PayPal billing details for this private tutorial

 

[aldevis]

I wrote concert key.
At the moment I cannot check, but there is an intro to be ignored. Sections are 4 bars long.

OK

I've done a bit of study

But I'm struggling to shoehorn the
A= Cmin/ Fmin
B= II/V/I of Cmin
C= II/V/I of Db major
progression into the chords as written on the sheet (it is the tenor sheet is it?)

Any chance you could say between which bars the ABCA changes happen please Aldevis

Ivan

Please send PayPal billing details for this private tutorial

 

[Jamesmac]

I have deleted the BT by mistake, but the link is not loading to Box.
Thanks.🙂

Has loaded now.all sorted.🙂

 

[Chris]

For the tenor sheet.

First 4 bars are 'intro'

bars 5,6,7,8 are the 'A' sec Dm7/Gm7
bar 9,10,11,12 are the 'B' sec ll/V/l in Dmin
bars 13,14, 15 ,16 are the 'C' sec ll/V/l in EbMaj
bars 17,18,19,20 are the 'B' sec ll/V/l in Dmin

ll, V, l representing 2,5,1 the chords from the keys used.

Chris..

 

[Jamesmac]

Third ver deleted.
era troppo auto indulgente😉

 

[aldevis]

Please send PayPal billing details for this private tutorial

I'd like to point out that my (paid) private lessons are more complete and demanding. I had a great teacher: he set a high standard.

Anyone willing to donate to Pete's charity will be more than welcome, though.

 

[Ivan]

I wrote concert key.
At the moment I cannot check, but there is an intro to be ignored. Sections are 4 bars long.

For the tenor sheet.

First 4 bars are 'intro'

bars 5,6,7,8 are the 'A' sec Dm7/Gm7
bar 9,10,11,12 are the 'B' sec ll/V/l in Dmin
bars 13,14, 15 ,16 are the 'C' sec ll/V/l in EbMaj
bars 17,18,19,20 are the 'B' sec ll/V/l in Dmin

ll, V, l representing 2,5,1 the chords from the keys used.

Chris..

Aha

Concert key

No wonder I was in mental turmoil from the outset

Thanks for pointing out the intro as well. Trying to fit ABCA into twenty bars was bringing me out in hives.

Now I can go back to licking me pencil and working out what's what