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Friday, September 11, 2009

The evolved avo

This was a great experiment in getting various people to jam over a 16 bar creation from whomever. Thanks to everyone who took part.
The premise behind it is this: A lot of people around the various forums have no clue about songwriting... so I devised a way that could be interesting in the long run. All you have is 16 bars to accompany... or... 16 bars to compose within. What that boils down to is, an 8 bar intro with an 8 bar verse; an 8 bar verse with an 8 bar chorus; an 8 bar chorus with an 8 bar bridge; an 8 bar bridge with an 8 bar solo... etc.
You could also apply it to 16 bar verses and chorus's if you wish, the choice is yours in the end. You have only 6 choices of drum beats to choose from, this in turn sparks creativity in a big way. The more instruments you layer on top of it, the more complete your creation becomes.
Now, given that you have written a few pieces with the ideas behind it of verse and chorus, etc... you now have learned a tool in which to compose in. Simplicity rocks in the end. The simpler your song, the easier the whole idea is to get across. The more complicated it is, the more you have to think about whats coming next. In my opinion, the former is much better than the latter in that all you have to think about in the end... is the delivery of quality.
Taking parts out of a drumbeat can add a lot of space to your sound you wish to create. Working within a limited framework also frees you up to be as creative as you are meant to be. Music is an artform, you are a musician, you are an artist and your canvas is the soundscape. So paint and be merry.
The link for those who do not know about it... or just wish to use the backings from others: http://www.ultimate-guitar.com/forum/showthread.ph p?t=1189269&page=1&pp=20
Thanks again to all those who took part :D
9:40 pm - 0 comments - 2 Kudos
Tuesday, August 18, 2009

Pentatonic concepts part 1

This relates to a query I found in the forums, although my answer did quite baffle the guy, so I thought I’d put it in a blog aimed at beginners and beginning-intermediate in exploration of the “easy” scale sounds.

When you have a progression, let’s say: C Em F G. And all you know is pentatonic’s, and want to know what sounds you could create with said pentatonic’s, then perhaps you could use this.

Now let’s move to Em pentatonic. Your first two chords being C and Em, this is the sound you will evoke with this scale over the C:

Em pent uses E, G, A, B and D. The E would basically help the 3rd of C ring out more, and the G would be it’s 5th. The A note would bring out the major 6th, the B would make it a major 7th and the D would bring out the spooky 9th.

Between F and G, you could even use a Fmaj pent (F, G, A, C, D). Against the G, the F would accentuate the b7th, which is inherent in this chord anyway, being the V of the key. The A would bring out the 9th, the C would bring out the 11th (if the 3rd was temporarily left out the chord, it would give it a suspended 4th feel, depending on how long you hold onto it), the D would bring out the 5th a little more.

When using pentatonics to solo with, your sound would never get as boring as you think. There is quite a rich world hanging around in pentatonics, that its only limit is your imagination. This is a small example of how to use something and which notes you would like to hang on to for flavour. I have seen quite a few posts that say pentatonics are so boring. This example only uses Em and Fmaj against two chords, the other two having it as their parent scale as such. There is a huge world to explore, even with pentatonics a semitone up and below the root note (when I have that lesson written up eventually, I’ll post it).

Good luck, enjoy!

1:33 am - 0 comments - 2 Kudos