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Joyful Baroque
Today we focused on the jazz style bridge. See photo of the notes |
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DECEMBER 3
DECEMBER 3
Here is a video of my "Silent Night" in which I apply some of the diminished scales and tension chords, especially during the improvisation. |
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November 19. |
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December 12 |
Lesson notes delivered in printed paper
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November 28 notes |
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November 14 notes |
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October 31 notes |
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October 17 notes |
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October 3 notes |
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October 4 UPDATE
Here is a technical routine that I use myself and I enjoy it more than the traditional routine that includes Major key and the three minor modes. You may notice that it has:
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September 19 notes |
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March 28 notes |
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February 14 notes |
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Compositions: "Offertory" and "Waiting Up in Utero"Dec 6
Video of some harmonic ideas for transition below: |
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Leaning on the Everlasting Arms |
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At the River (Copland) |
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Springs of Living Water |
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March 15
So far 6 keys at MM = 80 April 26 2-5-1 in major key, more options Build the three left hand chords in the key of C Major: Dm7 - G7 - CMaj7 Scales for the RH: Dm7 = D Dorian (same as C Major) G7 = Diminished scale of the chord you are playing as G7 CMaj7 = C Lydian, which is C Major #4 (F#) or C Major Pentatonic |
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Offertory Project: "Of the Father's Love Begotten" |
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May 24
Scanned notes from today's lesson are on the right margin. |
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May 10
Here are the revised notes from today's lesson. The video recording of today's lesson will be uploaded to Dropbox and I will send you the link. In addition to that see the notes below:
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April 26
Ideas for the harmonization using ascending bass line and jazz influenced chords. See our notes on the right margin. If my notes are not clear, let me know and I'll write the melody and place the chords above it. The recording of the lesson will arrive to you via Dropbox or WeTransfer. |
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March 1
The Scottish idea: Mixolydian bagpipe scale. A way to have more room for harmonic color, raise the melody one octave, rather than playing starting below middle C. Then try stacking 4ths for a more complex harmonic sound. The chord progression: Today we talked about fitting the chord progression in the song. The chord progression we currently have seems to fit better in C Major. In order to use it in G Major we could transpose it one 5th up. |
Here is a recording of the experiment that we were doing at the lesson:
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Jazz listeningKeith Jarrett and Charlie Haden. Album: "Last Dance".
Attached is transcription of "Every Time We Say Goodbye" |
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November 2
Using diminished scales for the V7. Find the b9 of the V7 chord That b9 will tell you which two diminished scales can be used Select the scale that matches the chord you are using on the LH Dim scales are built as whole-half-whole-half scales, or the opposite: half-whole-half-whole. The walking bass practice in F minor: RH can use the blues scale, but also, a little more agile is the minor pentatonic scale. October 19 Benjamin idea: Django Reinhardt. I am listening to D.R. on Spotify. Results: Looks like they frequently use diminished chords/arpeggios to develop a V7 that is traveling to a I. You could use the same technique, or create melodies based on diminished scales during those V7. See right margin for info on the diminished scale October 5 Intro - A A - B B (not composed yet) - Trio (C) (tuba carries melody) usually 4th up - D (dog fight) - C (grandioso) - D - C (optional stinger) Today we extended the section for the dog-fight Goal: continue extending it, while treating it as a large F7 passage that will eventually lead to Bb Major. |
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9/21
Here is Brad Mehldau, who also wrote a suite with similar goals. In this case the inspiration is "April 2020", the title of the suite. The audio samples included here will only play a portion of the song, but it gives you a reference I case you want to find the complete tunes in Youtube or some other source. His musical intentions sound similar to your suites, and I think you will enjoy listening to this. Notice how he uses variety of styles on different numbers, elements of classical, jazz elements, dissonances, some numbers easy to listen to, some not as friendly. |
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Jazz reharmonization. Biff Smith"Someday My Prince Will Come"
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November 16
COVENTRY CAROL Here we are applying a ii - V7 - I in the key of Eb Major to a section of the melody with very interesting results: October 12
More ideas on opening sounds come when you play from transcribed scores of jazz players. Here is a transcription of Biff Smith playing "Someday Mi Prince Will Come". Play through the score as slow as necessary, but pay attention to the quality of the chords. Eventually, the faster you are able to play them will give you more contextualization, but even if you just play very very slowly, you ca easily follow the melody of the very well known tune right on the top of the chords. I recorded the sound of the transcription slowly myself so you can hear it in context. This could provide ideas for the hymn "Leaning of the Everlasting Arms". |
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Score of "Greensleeves" ready to download -->
and a link to see it on Youtube: https://www.youtube.com/watch?v=RVt_wO5hRvA |
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String quartetNovember 16
Ideas for a transition into section -D-. The video is downloadable. you can watch it here or download it. |
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Classical listeningMaurice Ravel. Piano Concerto in G Major
2nd mov |
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