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Thread: Strictly Melody

  1. #1
    Modbod UKRuss's Avatar
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    Strictly Melody

    Yeahhhhh! We got our own space for some serious strictly work!

    I thought we'd start off with something new and trying to add it to something we've already done in the "strictly" series.

    The following track is made up of two parts: Verse/Chorus arrangement which repeat.

    The verse is Emaj Fmaj7#11 which repeats.
    The chorus is Gmaj D/F# Fmaj Emaj

    Some I'm sure will recognise the verse progression which featured in Part 3 of Jorge Maldonados article on Exotic Scales. If you didnt check it out, check it out now!! You'll need to equip yourselves with that information. (A quick thanks to Jorge who was happy for me to make reference and incorporate his ideas).

    The other thing to notice is the chorus features a slash chord. D/F#, a 1st inversion Dmajor in the open position. The reason for this is to create a chromatic descending bassline:

    G F# F E

    The phrase I have built over the verse uses the Phrygian Dominant.

    You'll recall from the Strictly Phrygian that E Phryg contains no sharps or flats but here we have an Emaj chord featuring the major 3rd G#.

    E Phrygian Dominant also includes the G# : E F G# A B C D E.

    As Jorge explains we can therefore employ this scale over the Emaj (EG#B) Fmaj7#11 (FACEB) progression.

    I have not focused particularly heavily on the G# in my phrase but it gets the feeling across. See the powertab for the breakdown of my phrase which includes an old school pedal point type section which runs down the scale nicely I think. You can also see the G#s standing out in the score. Sparse but fairly sprinkled throughout.

    Then in the chorus section again we have a number of chioces using basic major barre chords. I've elected to go to G mixolydian: G A B C D E F over the G major to remove the G# sharp from the Phrygian Dominant scale and fit it over the Gmajor but at the same time keep the scale closely related, i.e we're only changing one note.

    As we go to the D/F# , D major inversion, I play a single string ascending scale run which I believe could be best described as D mixolydian ( ok I know I put the D# passing tone in at the end...) again only needing to introduce the F# into the scale to make it fit.

    D mixo D E F# G A B C. i.e. only changing one note.

    Then on the F major I descend in the same way slowly on one string.

    Going E D C B A then finishing on an E again as we finish the chorus on Emaj. This is F Lydian over the Fmajor chord. F Lydian : F G A B C D E again only changing one note to make it fit.

    At the end of the first chorus I pull a fairly standard major pent lick in E which links back to the verse well and adds a bit of humour. After the second verse I replace it with an Eminor pent lick, which although played over a Emaj ringing chord, doesn't seem too out of place.

    I haven't attempted to create too much tension, if any really, but Jorges article points out many ways you could, and scales you could use. Gypsy scale? Lydian b2? Just be careful with those C#s!

    I know some of the note players may focus on chord tones as you go or arpeggios, but whatever your tools:

    The challenge is to strictly create a melody over the progression coming up with alternative, and hopefully exotic, scale choices and explanations for why what you do works.

    Enjoy!
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  2. #2
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    This is so very Helpful!!

    Thank You

    UKRuss, thank you for all the effort in this thread

    I especially think the detailed explanations and your examples via the powertab notation are particularly helpful.

    I know it was more work to be as detailed but well worth it when conveying the message.

    Thank You IBreatheMusic.com you are the very Best!!!
    "Success is arriving at a Personal Satisfaction within yourself"

    Dedicated To Guitar!!!

  3. #3
    Shred Apprentice Bande's Avatar
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    Whhhhhoooaaah, Russ, COOL!

    In my opinion this is your best piece so far. Russ, you have a great musical knowledge, and you're a very very good musician! You have all my appreciations! It is cool that you have a great theoretical knowledge!

    Ibreathe! It was a very cool idea to start a separate forum for strictlys. Now we have our own space to work in! Ibreathe, you're the coolest!!!

    Oh, and Russ: I'm heavily thinking about trying this one. Because (as you know) I'm not a very good improviser, especially when it coles to melody (you know me - too many notes, too little sense ). And the other thing is that I mostly play rock and absouletely not familiar with other scales than major, and its modes. (mostly I use aeolian). Well, hell, maybe I'll give it a try but I know myself, so I guess my take won't be "srtrickly melody".
    Can you spell T-E-N-D-O-N-I-T-I-S?

  4. #4
    Registered User sixstrings121's Avatar
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    Wow this stuff is extremely helpful. When messing around with it I get new ideas and learn new things. Thankyou guys sooo much for doing this, really. I think I'm ganna try a take on this one soon.

  5. #5
    Taiwanese shredder btangel's Avatar
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    AWESOME!!! Oh man congrats Russ to getting your own section this forum pretty much GOOD JOB!
    Ax: Ibanez JEM7V, '80s Fender Stratocaster
    FX: DS-1 Ultra, Rocktron Chameleon
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  6. #6
    Registered User Necromortis's Avatar
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    Hey I'm going to try this as soon as I quit this damn game of Monopoly with my sister :P I'll be editing this post with my recorded file pretty soon.

  7. #7
    Registered User JohnJumper's Avatar
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    Here is my attempt - no fireworks but I think there is a melody there... UKRuss - you rock!! congrats on your own forum concept being implemented!!! You deserve it with all the work you put into these tracks!!! They are really fun!! Thanks!
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  8. #8
    Modbod UKRuss's Avatar
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    Thanks for the kind comments guys, but hopefully I won't be the only guy posting strictly's.

    Personally I'm really hoping some of the Jazz guys will post something for us to learn from. I'd really like that cos my Jazz sucks big time!

    Nicely worked there JohnJ, what scale is that? I thought I detected a note or two that I didnt use, maybe I'm wrong but? Great Tone btw!

    @Bande, you've got the skills dude, just try working through the theory on it which hopefully is not too far removed from the mode strictly's we did. Once you uinderstand it I'm sure you'll find it easy to come up with something of your own

  9. #9
    Registered User satch_master's Avatar
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    WHOA! i miss out on the forums for one day and oh my god! EVERYTHING HAS CHANGED AND RUSS HAS GOT HIS OWN STRICTLY SECTION ON THE FORUM NOW! isnt it funny what started as a "striclty pentatonic" by one inventive man called Russ once a time ago has now become an ibreathe tradition and has its own section. This is crazy stuff. congrats russ.

  10. #10
    Modbod UKRuss's Avatar
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    Thanks Satch and thanks for your PM!

    BUT Just to re-iterate though, it's not just my forum. Everyone can put together a strictly for submission and I really hope people do!

    So much to learn from each other!

  11. #11
    Registered User JohnJumper's Avatar
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    Quote Originally Posted by UKRuss
    Nicely worked there JohnJ, what scale is that?
    I used a Phrygian scale with a major 3rd instead of the minor third called a Phrygian Dominant.

    I attached the tab for the scale...
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  12. #12
    Registered User Necromortis's Avatar
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    Yeah, that's what Russ used as well I believe.

    Anyway, here's my take at it. Listening to it...uggh, my improvisation sucks. And I should have recorded it better :P Anyway, forgive the recording quality.

    Here's a quick breakdown of what I did:

    Over the verse, I used the E Phyrgian Dominant scale, like Russ and JohnJumper did. That scale is E, F, G#, A, B, C, D, E. It's nice because it fits over the Emaj chord and the Fmaj7#11 with the G#.

    Over the first four measures of the chorus (the Gmaj and D/F# chords) I opted to use the E Dorian mode. It fits over both those chords as well. The scale is E, F#, G, A, B, C#, D, E. A nice sounding scale, and as I said before, it goes with the Gmaj and the D/F#.

    For the next two measures (Fmaj chord) I play an F Mixolydian lick that I'm quite proud of. Sounds pretty nice, slightly mesmerizing. Unfortunately, some of it is lost in the recording process. That scale is F, G, A, Bb, C, D, Eb, F. Again, it fits tover the F, A, C notes of the Fmaj chord.

    For the last two measures in the chorus (the Emaj chord) I used the E Lydian mode to play a descending and then ascending run to spice things up, I'm rather tired of E Ionian scales. That scale is E, F#, G#, A, B, C#, D#, E.

    Well, that's it, what do you think.
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    Last edited by Necromortis; 05-01-2005 at 04:10 PM.

  13. #13
    Modbod UKRuss's Avatar
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    Quote Originally Posted by JohnJumper
    I used a Phrygian scale with a major 3rd instead of the minor third called a Phrygian Dominant.

    I attached the tab for the scale...
    Ah it was phryg dom, my ears were playing tricks. I thought I heard other notes too... nice though.

  14. #14
    Modbod UKRuss's Avatar
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    Hi Necro!

    Nice shot. If anything I'd have to say a bit more variety in the rhythm and some vibrato or accenting woudl transform the feeling of the piece.

    Some nice scale choices and thanks for playing the rules and giving the full explanation!

    BUT:

    The scale you describe as E Dorian over the Gmaj is surely G Lydian and then changes into D Ionian over the D/F#?

    G A B C# D E F# G (G major scale with sharp 4th)

    D E F# G A B C# D (D Major scale, Ionian)

    Worth revisiting for another look? Same scale as E Dorian both of them but different starting points and different chords underneath them changing the modal aspect of the scale.

    Also the E Lydian scale you've written down is actually Emajor, the Ionian scale. The Lydian would have a sharp 4th, A#, too.

    Not sure if that's a typo, but thought I'd point it out.
    Last edited by UKRuss; 05-01-2005 at 07:22 PM.

  15. #15
    Horny Guitarist RandyJ's Avatar
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    Awsome work dude!That's actually a very cool one!Keep it up!

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