Lesson page. NOLA
Compositions: "Offertory" and "Waiting Up in Utero"
Scanned handwritten notes on the right margin
Scanned copies of my lesson notes are included.
These notes are my "shorthand" to know what to remember to talk about while you are playing. They may not be easy to interpret, even for myself after the lesson is over, but if there is anything that you need me to clarify, please let me know.
So far 6 keys at MM = 80
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
Offertory Project: "Of the Father's Love Begotten"
Scanned notes from today's lesson are on the right margin.
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:
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.
I am listening to D.R. on Spotify.
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
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.
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.
Here we are applying a ii - V7 - I in the key of Eb Major to a section of the melody with very interesting results:
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".