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Discussion in 'Tab & Music Forum' started by fezz parka, Jun 25, 2019.
Tiburcio Vasquez rides again!
I repaired my error
Well, here it is...
Well, what did you expect?
Given the nature of these workshops, I decided to take a listen again to my rhythm track. My goal was to keep a theme throughout, but use the rhythm to manage the energy throughout the track. I didn't just want to play the chords repetitively and lean entirely on the lead to take the song somewhere. I find when I'm able to do this, building out a lead melody becomes much easier. For those interested, here's what it sounds like with just my rhythm tracks. Note that for parts of it, I did include two rhythm guitars to get the effect I was looking for.
This is very cool!! I agree that using the rhythm tracks to manage the energy (and the arc I would say) of the track makes the melody far easier to develop. The melody almost writes itself and goes along for the ride.
There are some backing tracks that I have jammed over through the years that were like this. It almost felt like cheating because if you paid attention to what you were playing over and followed the energy and arc, it was almost impossible to go wrong.
You excelled on this.
That is very slick Kevin. I'll give it a shot. Thank you!
A bass line writtien by someone who trully understand the chords and thematic development, as opposed to someone who knows the root note and the right scale to apply, is not a subtle difference. Imagine giving, say, Penny Lane to a 'functions band' bass player who had never heard the original.
Marvin and Welch!
It was the first thing that caught my ear as soon as I heard your first post. I though the rhythm work was excellent.
While I appreciate this...this is not what the exercise is about. I purposely don't supply a rhythm track so that each person creates their own. Only a bare minimum bass line that implies a form.
Allowing it to be downloaded turns it into another jam thread. Use it in a jam thread, but please don't dilute what the PMW is trying to accomplish: to get to the music that is in each individual. To have them supply their own rhythm track and melody. Not to play over someone else's.
As a reference to show what you did....groovy. To add it to the lesson...not groovy.
Three people aside from myself can post backing tracks/lessons in the PMW:
This keeps the focus and prevents a free for all. If this doesn't set well with you...then don't participate.
There is a specific plan for these things that these four people have worked. An extension of the Pratical Jazz Workshop threads with a focus on composition from certain tried and true forms. And believe it or not.... it requires thought and work to make them happen.
Sorry about that. I suppose I don't think of adding a melody as jamming since I don't think that's what I was doing when I added mine. However, you were clear in the goal of the workshop, so I've removed the download option on my rhythm track accordingly.
I'm honored to be in such company and to have your permission.
Let me know what you would want as a backing track that I can do. Until then, I'm still getting back in "studio mode" so to speak.
Ah, there's the rub - how to play from your heart and still keep the form.
Simon caught this too - that's what I meant about knowing the changes and applying them, in this case as a bass line - so no chords, only scales and arpeggios and other melodic devices.
OK - bass can play chords - that's "extreme" bass playing for the most part.
"Penny Lane" is a perfect example of the Beatles bass lines that were both rhythmic, but unusually melodic, particularly for the time period.
But if I played that line on a gig where the band had never heard the original (as in the new movie) they'd can me.
It's not a safe bass line, but it was brilliant.
Like Ox's bass lines, for that matter, and their offspring like Chris Squire, Greg Lake, Lemmy, Wetton, many more, etc.
But you changed the form slightly and played your melody according to your choices in the rhythm track. That's what everyone should have a chance to do.
FWIW...your track is great and creative. But with your rhythm, they would be playing within parameters you laid out. And that's not what we're doing here.
The bass line...as I laid it out...takes two well known chord progressions and combines them:
The ii-V-i in the A section.
The i-VII-VI-V in the B section.
Like the I-vi-ii-V of # 1 and the I-IV-V of # 3...the idea is to get these well used progressions in your head. Once you do...you'll find that they are in just about every song you play in some form or another. Some of you know this already...but some of you don't.
Down the line, maybe after a I-vi-IV-V and a iii-vi-ii-V, I'd like to get to the major and minor circle progressions. That's where all of these come from.
Ok I’m tone deaf so this is what I hear over the A section
1 bar - i
1bar -ii don’t know how to make the little circle lol 7
2 bars V7
School me please on what you are hearing or doing
Edit : I think I got it now never mind
2 bars I
1 bar ii
1 bar V
Listen to it and count.
here's a go... haunted by runaway, but doubtful there's a resemblance... at points i was completely out of control... cathartic but i prefer craft.
Haunted by Del Shannon? I know the feeling well. You just about got away with it (I think I did too).