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IOTM November 2016: Uncle Mitchell

Chris

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I think @spike like me is questioning the F Dorian reference, as the track is just Eb maj. Using 'modes' just kind of make things more complex then they should be.

Eb maj, C min, work just fine. Once you mix the notes up you won't know the difference anyway:)

@Tiberius you're playing is coming along nicely:)

Chris..:)
 

carburetor

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I think @spike like me is questioning the F Dorian reference, as the track is just Eb maj. Using 'modes' just kind of make things more complex then they should be.

But F is the root; it resolves there. It does not resolve on Eb -- that is the seventh. Saying Eb major gives you the right notes but misleads you on the tonality. Saying F dorian gives you all the correct information.

I am very confused by your post, as I know that modes are very important. Every mode has a distinct sound. This song doesn't even sound major, or aeolian for that matter, it sounds dorian.
 

carburetor

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Reminds me of a member who doesn't post any more. He's got perfect pitch. We had some in depth and heated discussions about transposing instruments, cos he couldn't stand the transposition. But it works for the majority of us.

Honestly I could probably get into a similar discussion, but I'm trying to avoid it, especially since it's off-topic. I'd rather keep the peace haha. :)
 

spike

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Wait, @spike, what don't you understand? It seems rather naughty to sneak that in there without posting... :)
Sorry but it just sounds like vamping around on Fm7 and Bb according to my piano-la-rama-harry-harry.
(I used to hang out at the Ashram sometimes with some hairy Harry Rama freaks in my mis-spent youth - N.B. no I wasn't a member ;) and they used to trance around with guitars, tablas, tambourines and bells playing stuff similar to this.)
I was into Ornette Coleman's Chappaqua Suite at the time . . . talking of time it's 5'o'clock Tea-Time over here - time for a beer.
 

Chris

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Modes are not that important when you sit down and think about, most songs in the 'American song book' are all based around ii V l progressions. Yes the chords in your track may well have there home in F Dorian, but once the improviser changes the order they are played he/she could be playing anything. Unless they are experienced and can place more emphasis on the key notes of the mode:) It's just my personal opinion, but, modes are over used and misunderstood when it comes to improvisation:) many may disagree and that's fine:)

Chris..
 

aldevis

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Modes are not that important when you sit down and think about, most songs in the 'American song book' are all based around ii V l progressions. Yes the chords in your track may well have there home in F Dorian, but once the improviser changes the order they are played he/she could be playing anything. Unless they are experienced and can place more emphasis on the key notes of the mode:) It's just my personal opinion, but, modes are over used and misunderstood when it comes to improvisation:) many may disagree and that's fine:)

Chris..
My very personal position is that in a basic (say) G dorian environment "B is flat, home is G"
I agree with leaving out the modes (unless we are doing real modal music) but playing F major scale on Gm7chord, in the long run, is misleading (unless, as you say we are on a iiV I of F).
 

carburetor

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I approached this like a proper jam - make sure I'm in tune, make sure I know the key and play. No practising, just go for it. This is a one take, first take, warts, mistakes and squeaks recording. :D

DeadAudiolink Removed

That's absolutely genius. I think you really got into the character of it, and actually transformed it a bit from how I was thinking about it. The reverb/delay was a cool touch, but I feel that your sax needs to be a little louder in the mix.

If this forum didn't prohibit profanities, there would be a lot of them in this post (because that's how I express myself when I'm excited haha). But poop, man, you can play some pretty fast stuff. And you haven't been playing that long. I also like some of the dissonant stuff you played. I think I listened to this three times.

It looks like I was right. You are a wild man! :cheers:
 

Tiberius

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...I also like some of the dissonant stuff you played.

I had trouble coming up with ideas for the slow part. For some reason I feel that I want to play faster in the slow part than the fast part. I too like the dissonance in the slow part, I'll definitely have a play with that.
 

Veggie Dave

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The reverb/delay was a cool touch, but I feel that your sax needs to be a little louder in the mix.

If the sax was louder you could hear more of the mistakes. ;)

you can play some pretty fast stuff.

This was something of a one-off, to say the least. ;) If I'm honest, I was a little surprised when I heard the playback, too. :D

And thanks for the compliments, I'm a little taken aback. :yess:
 

Nick Wyver

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Inspired by - or perhaps spurred on by - Veggie Dave's effort, I had a bash at this. So, in the same manner (one take, no editing, no practising) this is what I did at 11.00 on a Saturday morning. I really should have counted the bars cos every time the backing changed tempo it took me by surprise - as did the ending.
Oh, and it reminded me of Spaceways Incorporated.
 

carburetor

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I had trouble coming up with ideas for the slow part. For some reason I feel that I want to play faster in the slow part than the fast part. I too like the dissonance in the slow part, I'll definitely have a play with that.

It could be the swing 16ths. I tend to play on the slow part as if it was 160 BPM with swing eighths, instead of 80 BPM with swing 16ths.
 

carburetor

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Inspired by - or perhaps spurred on by - Veggie Dave's effort, I had a bash at this. So, in the same manner (one take, no editing, no practising) this is what I did at 11.00 on a Saturday morning. I really should have counted the bars cos every time the backing changed tempo it took me by surprise - as did the ending.
Oh, and it reminded me of Spaceways Incorporated.

Well shoot, that's not fair -- if that was a band, you'd be the best player in it by far haha. You gave it more of a funky/jazzy sound I think. The altissimo was cool. I particularly like the more aggressive parts, like at 1:07. :) Thanks for posting!
 

Ivan

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Inspired by - or perhaps spurred on by - Veggie Dave's effort, I had a bash at this. So, in the same manner (one take, no editing, no practising) this is what I did at 11.00 on a Saturday morning. I really should have counted the bars cos every time the backing changed tempo it took me by surprise - as did the ending.
Oh, and it reminded me of Spaceways Incorporated.
Some elements reminding me of Fela Kuti
 

carburetor

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So apparently it's a mix of Rush, Harry-Rama-freaks-a-trancin' (is that part of the Twelve Days of Christmas?), Spaceways Incorporated, and Fela Kuti. I never would have guessed. :)

So I really should post a more complete take but unfortunately my tenor fell off a table and is now basically ruined. I have a soprano now but I have no idea how to play it and I'm still trying to pick a mouthpiece. So I'll be out of action for awhile. :(
 

Jeanette

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Oh no so sorry to hear about your tenor. Get a proper stand for your sop!

You'll love sop when you get to grips with it :)

Jx
 

kevgermany

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Also really sorry to hear about this. Take the tenor to a tech. Sometime this sort of damage isn't as bad as you think.
 

carburetor

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Thanks everyone. :) I already took it to Chuck Levin's, which has the most proper repair shop I know of around here. They won't work on "off-brand" instruments, which mine is. The repair guy I talked to was very helpful though, and helped me understand what might be going on with it. Apparently the neck having been bent by the fall, and then bent back by me, was not the issue (I thought it was because that was the only visible change other than the bell flare being bent).

I had already checked it with a leak light and found a lot of leaks, some quite major (and high up, which is the worst place). Fixing this would require bending key arms or replacing pads. This sax was never very good (it's a cheap thing I bought used from a friend), but now it is all but unplayable down low, and has lost its quiet range on most notes. I don't want to do the required repairs on it myself or find someone to do it, as I don't feel that it's worth the time or money. This sax has been a close friend for quite some time but now I feel it is time to replace it with a proper instrument that will be better than it ever was.

So, I have begun shopping for a tenor (also at Chuck Levins), and whooooooa are they nicer than what I'm used to. It's a daunting decision though. I don't want to compromise this time, which may mean spending more money than I have haha. :)

On a positive note, I picked a mouthpiece for my soprano, and it is quite nice. :D
 

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