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RE: Music Question
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n85ae
Posts: 877
Joined: Sep. 7 2006
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RE: Music Question (in reply to guitarbuddha)
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Thanks All - Especially Tom and Henrik for providing material! Which actually addressed the question I asked anyhow. Carp, huh, how'd that enter into this???? :) Ricardo, actually you're suggestion is valid. Repetition, and practice is a good idea. I tend to play a lot of improvisational type stuff, and I find that with a Bulerias type rhythm for example while it's pretty easy to stay on the beat, I have a hard time keeping track of which beat I'm on. So I have stop, and listen, and let the metronome come around again and restart. Since I'm only playing by myself with a metronome it can be a challenge. Then about the chords, I think the stuff I just got should help. Basically what I was getting at is say for example I'm playing basically A, Bb in a Bulerias then if for example I play a Dm, and a C, does that mean something? Is it like a signal that something is about to change in the Bulerias? (i.e. like the tune is about to end), or is it simply just a change in chords? About getting a teacher - This forum, books, and dvd's are my teacher. I have two kids, a wife, a dog, an old house with plumbing issues, not to mention a job. My free time is pretty limited. Is anybody on the list in Chicago per chance??? quote:
You really have to establish which species of carp you are dealing with. Some are palatable some are not.... some are poisonous , all are bad when off. All of my friends threw up. This is simply NOT true. Poisonous? http://en.wikipedia.org/wiki/Carp
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 19 2007 14:36:17
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guitarbuddha
Posts: 2970
Joined: Jan. 4 2007
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RE: Music Question (in reply to n85ae)
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Well all my friends threw up so I suppose digesting rotten carp can be dangerous. Maybe it wasn't such a good judgement call. I'll have to make them something really nice to make up for that. Hi there Jeff, you've gotten it there ,resyncing the brain I like that. If you dont mind though here is some more advice, just because something says that it is in 3/4 doesnt mean that it is. A soleares compas lasts twelve beats and it can be divided in lots of ways here are two common ones. 1) Am (3/4), G (3/4) F (3/4 ) E (3/4 ) 2) Am (2/4) G (3/4) F (4/4) E (3/4) It is important to set up the whole compass. Also it is a really good idea to hear the harmonic journey so best to leave in something of the second compas ( or bar if you want ) to help with your ear training and understanding of the harmony. Now in both of these systems what is really important is the arrival on the fourth bar ( beats 10,11 and 12 ) of the compas. Now you could practice ANY chord progression and it would be in compass. So for Soleares you could transpose the andalucian cadence to any key ( Ie Por arriba Dm C7 Bb Ab9 ) That could be written simplu thus. D C7 Bb A . This makes it fit into a four square grid like jazz harmony. You can choose which system of downbeats to interpret this with. Also you can Abbreviate or extend the sequence F F F E E F F E F E F E You can also take more time with it. Am Am Am G G G G F F F F E Remate. ie ( Am C F6 E ) Notice when there is a slow rate of chordal change significant harmonic events take place on ten and not on one where they would be expected to in baroque classical or jazz harmony. Looking again at that traditional remate you see that C has replaced G on the way to F this is a borrowing from the cycle of fifths ( c is the secondary dominant to F ). What I really like to do is to state one whole compas of chords and try and realise that harmony through improvisation. I dont really spend much time learning other peoples music anymore. Regards David. PS if you are looking at Alegrias compass strummig at all then the second system ( 2/4,3/4,4/4,3/4) is pretty universal . To morph into buleria ( traditional two phrase compass ) take the last beat ( 12 from the final three four and add it to the two four at the start ) it becomes 3/4,3/4,2/4,2/4,2/4. Now if your tablature or score says it is all in three four its gonna be difficult to do anything other than learn the piece all in a oner but if you are aware of which beats are the downbeats and where the harmony actually falls then it is much eaiser to work on the music as a sketch first filling in the notes after the compass of the harmony is learned. For bulerias this is really common BbBbBbA AA Bb A Also all of the ones I mentioned for Solea fit well but in A. For alegrias you are in a major key if you exchange Am,G7,F,E for E A B7 E then you can use all of the above for alegrias. This makes it I IV V I, you can extend it the same ways E E E A A A A B B B B E Remte. You can exchange C# minor for E at will also F#m for A . These will make it sound more modern or jazzy. Also B7 can be replaced with a trition substitution of F7b5 making it sound kind of jazzy ( think Nunez in latin mode. ) Sorry for going on but I hope that I wish someone had told me this years ago.
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 20 2007 0:12:40
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