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Thread: Strictly Melody

  1. #16
    Registered User satch_master's Avatar
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    Smile Hope you like

    Ok this took my a while to do, not bad i suppose. I stuck on E phyrigian Dominant except for the other riff, which i just made a melody using my ears, sorry russ all those mixolyidian and lyidan scales confused the hell out of me , and especially having to change each scale on the chord changes. Atleast i can make ok melodies with my ears . Oh well, i learnt how to use a scale by harmonising the rhythm chords into it , so that helped me understand about that alot, like the E maj and the FMaj 7 add 11, how you put there chord tones together and find an appropiate scale to solo over. Hope you like the bass solo, something different i suppose. Ive been playing alot of bass lately(the instrument that i started on) so im getting back into my roots at the moment, im still a better bassist than gutarist any day .
    Doesnt really sound spanish, well i tried, thats Los Boleros's job. I can bet my money his gonna rip the **** out of this track, i cannot wait to hear him play
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  2. #17
    Registered User Necromortis's Avatar
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    Thanks for the compliments. Once I played it back, I do think some variety would be helpful. Anyway, it was a first try for improvisation, so, I'm pretty happy overall.

    Argh, sorry, that E Lydian scale error was a typo. I'm almost positive that I'm using the E Dorian scale in that lick. The notes in that lick are B#, A, C, and A#. Actually, I don't think that that is the E Dorian scale...

  3. #18
    Modbod UKRuss's Avatar
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    Thanks Satch, nice take. I thought your Phrygian licks were plenty spanishy. actually I liked the speedier bit you did towards the end best, very tasty. almost flamenco type runs.

    dig the bass!

    if i'm not mistaken you using good ol G major scale over the G section, which wiould make it D mixo over the D/F#.

    Necro, what you've got to consider is Dorian is a minor scale. E dorian would contain the G natural minor 3rd. over our E major containing the major 3rd G# that could sound nasty!

    it defintely dosent contain A# though...and I don't know where the B# comes into it.

    E Dorian is the second mode of D Major, D major only has two sharps in it F# and C#.

    On the other hand if the lick works and your happy with it then thats all good too. But it does pay to analyse.

    From an improv point of view, dont be too hard on yourself. you developed a theme and worked some ideas and thats what counts, ,the rest is just practice...and we could all do with more of that.

  4. #19
    Jazz Apprentice Factor's Avatar
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    Aha! thanks UKRuss, major kudos for the work you've put into this feature!

    And the best thing about this track is that it practically screams for an acoustic steelstring guitar! Now, I just gotta get me recording possiblities again before Los Boleros comes in and steals the show

    Interesting set of changes by the way. Did a bit of noodling over the backingtrack last night, and that was fun!

    Keep up the good work Russ!

  5. #20
    Mad Scientist forgottenking2's Avatar
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    I actually played my first take finger style in a classical guitar I wish I could have recorded that take... it sounded great and the melodies were better than what I played on my electric. Here's my second take.

    Here's a little bit of theory in what I did. On the 1st chorus I used exclusively E phrygian Dominant (E-F-G#-A-B-C-D) for the E-FMaj#11 part and for that cool bluesy/country progression with the descending bass line I used mainly E minor (E-F#-G-A-B-C-D)/E blues(E-G-A-Bb-B-D) and pentatonic licks, in the second chorus I spiced things up a little bit by throwing in some dorian b2 licks (E-F-G-A-B-C#-D) gotta be careful with that minor third though(I think I did use the min 3rd, that's the sour note you hear at one point. ), Gypsy scale (E-F-G#-A-B-D#) and I think I threw in a "melodic minor pentatonic" (That's what Joe Dorio calls it. It's spelled E-G-B-C#-D#) If I didn't Oh well it would've worked here too .

    So there you have it, it sounds impresive in theory... not so much when I play it . Check it out guys.
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    "If God had wanted us to play the piano he would've given us 88 fingers"

  6. #21
    Registered User Matze's Avatar
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    I'd like to point out, that it may be easier for some to think of the scales as harmonic minor and minor.

    Over the verse section in the backing i'd play A harmonic minor. This is of course the same as E phrygian dominant, but is easier to remember for me thinking of it like that.

    In the chorus part over G and D you'd get away with using E minor and E minor pentatonic (containing the f#), then switching back to A harmonic minor for F and E.

  7. #22
    Registered User Mateo150's Avatar
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    I'd like to agree with Matze - I just started fooling around with it yesterday, and its definetly A minor/Cmajor to my ears, not Phyrgian dom... although I stay away from Phyrgian myself, I just don't like it. Also, if its considered A minor, this also makes a lot more sense considering that the bridge is G/D/E/F... this naturally is more a part of Cmajor.

    Anyway, I've got some stuff to do today, but I'll try to record something later.

    P.S. - to mods - Satch master has 2 duplicate posts, maybe we could clean that up a bit.
    They call them fingers, but I never see them fing.

  8. #23
    Modbod UKRuss's Avatar
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    Jorge, nice take my man and variation no the theme. I love the country type interpretation on the chorusy section. Nice!

    Matze, yes a good way of intpreeting the scales in terms of recognisable patterns but, I would warn newbie theorists to think of it too much like that as it's confusing not to relate the scale to the chord ni the first instance.

    i.e. How come A Harm min works over Emajor....they'll be thinking. We'll be saying, well its E Phryg Dom really but your borrowing patterns from a harm min.

    It would be the same as saying D Dorian is C major. It is...but it isn't of course.

  9. #24
    Modbod UKRuss's Avatar
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    Quote Originally Posted by Mateo150
    I'd like to agree with Matze - I just started fooling around with it yesterday, and its definetly A minor/Cmajor to my ears, not Phyrgian dom... although I stay away from Phyrgian myself, I just don't like it. Also, if its considered A minor, this also makes a lot more sense considering that the bridge is G/D/E/F... this naturally is more a part of Cmajor.

    Anyway, I've got some stuff to do today, but I'll try to record something later.

    P.S. - to mods - Satch master has 2 duplicate posts, maybe we could clean that up a bit.
    Of course! But is anyone gonna thank you for trawling out the inevitable? The listener likes a bit of surprise.

    I could choose to run out the ol minor and major over every song I hear, but wheres the fun in that

  10. #25
    Modally Challenged!!!! mattblack850's Avatar
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    Quote Originally Posted by UKRuss
    It is...but it isn't of course.
    I'm so glad that's got that cleared up then!!

  11. #26
    Modbod UKRuss's Avatar
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    errr. yes.

    Rather than launch into one of those mode explanation type responses...I think I'll just assume we know what I meant.

  12. #27
    Registered User Mateo150's Avatar
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    Here's my plain ole major minor take on it... I'm just not a super mode meister myself... maybe one day I'll be the mode meister bringing tha funin'

    Nice fun backing:
    Explanation:

    Part 1 - noodling around the C note at 10th fret of d string

    Bridge 1 - major pent, mostly arps

    Part 2 - did a chord vamp, C9 or Edim --> Bb7 or E7 with b5 in root ---> E octave ... I suppose each chord functions as each, depending on whether its E or F in the backin

    Bridge 2 - more major pents, a little bit of arps

    Part 3 - E min pentatonic with a b6... a spanish magic quote at the end.

    I must add I didn't really think theory while playing, these theory explanations are made in retrospect.
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    They call them fingers, but I never see them fing.

  13. #28
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    My analysis of UKRuss's improvisation(I know that some of this is posted in UKRuss's detailed explanation but most of my analysis was done just by listening to his mp3 so I thought I would still include my analysis since he made the effort of a detailed explanation

    the form of the chord progression is AABA

    AABA form, we can look at the chord progression for the A-section as one unit, and the progression for the B-section as another.


    meaning that the A part is repeated twice then it goes to a B part, then back to the A part: then repeats



    The improvisation of the A part has a repeating Theme and incorporates an E pedal tone lick,

    this whole A section is a good demonstration of keeping it simple, and using your theme as the A part.



    I like how you incorporated your personality into the improvisation

    and probably my favorite part is the lick and bend at 00:45-00:48 during the end of the B part(first chorus), it sounds like your having some serious fun there, also I think where you played that particular break part and what you played shows real "taste" as a musician.

    Quote by UKRuss:
    "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."

    I don't know about humour but I think it's quite a tasty little lick.

    Thanks again, UKRuss

    I've also been analyzing the improvisations in the strickly pentatonic thread, but since UKRuss was thorough enough to provide the documentation to the strickly melody thread I wanted to analyze this one first.

    Also thanks to all who made the effort to give a DETAILED explanation of your improvisation, I promise I will also listen to yours since you made that effort and may share what I like about those improvisations.

    These strickly improvisations are such a cool educational implemented idea!!!
    Last edited by Schooligo; 05-03-2005 at 03:32 AM.
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  14. #29
    Registered User satch_master's Avatar
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    Oh yeah, thanks russ, for digging it even though im not really pleased with it. BTW, Russ, i forget to complement you on how awesome your playing was on that track. Spanish and flamenco guitarist would choops us so badly but, ive seen them and there got crazy runs and stuff. At first, i didnt like your take that much, i thought it was OK, but its growing on me now, i love the melodies. Nice stuff, Russ dude. Another thing i lvoe about strictly is that it forces you to play or attempt(lol) to play many styles of music like blues, rock, spanish, funk. Otherwise id just play metal non stop! i cant help it.

    Yeah we definately need a strictly jazz os something jazzy id say. Like a II V I progression with jazz chords and then we solo over the accompanoing chords, that should juice the theory of out us all, hehe, but i know jazz cats like factor would do a good job on the theory for us dumbos and make an awesome solo. hehehe.

  15. #30
    In the woodshed rmuscat's Avatar
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    hey guys ....

    here is mine ... 1st shot today (fiddled a bit with it a couple of days ago) ... 1st thing in the morning i can barely see what i'm typing lmao ... excuse my playing i didn't warmup a second lol

    do or die

    tabs coming up later on the in day. Some lame open string pedal tones really but i have been trying out some over the past days and said why not just use them no matter how lame lol its useless practicing them otherwise!

    I went E Phrygian Dominant, G Ionian and i hinted a bit of b5 over the Fmaj7 (blues scale, "blue" note i prefer it black though).
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    Last edited by rmuscat; 05-03-2005 at 07:01 AM. Reason: NEVER attempt theory when asleep
    Edwin Land: Creativity is the sudden cessation of stupidity.

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