-
Originally Posted by BWV
Whatever your stylistic priorities are, I agree developing textural options is very important (for anything actually, including jazz). This has been the main thing I’ve felt I’ve needed to work on in fact. One obvious place you can go to is the repertoire itself.
John Mortensen suggests a good way to go with this is simply to take pieces of music you like and then take the textures through the RO. I have to say this a really fun practice activity.Last edited by Christian Miller; 10-15-2022 at 03:28 PM.
-
10-15-2022 03:10 PM
-
This is an excellent seminar
-
Something I'm working on at the moment - standards as preludes
-
some useful 'chunks' in this Guiliani study
-
I was messing with RO substitutions this morning in both ascending and descending penta and tetrachords.
Fascinating stuff and it's all about your personal preference as to whether you like a brighter or darker sound for those subs.
Great fun trying to play and compare them all.
-
Originally Posted by Liarspoker
-
Originally Posted by Christian Miller
Ascending pentachord. Middle voice of 4 moves up or down to middle voice of 5. Nothing fancy a out that but sub 5/3, 6/5 or 7/5 for 6/3 on 4.
Descending pentachord 4 is a 4/2 chord. No need to prepare but resolve to a sixth.
Ascending tetrachord. Raise 6 & 7 in minor. Suspend 6. Use diminished 5/3 on 7.
Descending tetrachord. Raise 6 on 6 in major. 7/6 suspension on 6.
Fascinating stuff
-
Originally Posted by Liarspoker
Here's a favourite of mine
Am Am6 Bm Bm6 C+ C6 Dm7 Dm6 E Dm6 Dm E/D Cmaj7 Am/C Bm7b5 E E7 Am(maj7) Am
-
A couple things I've noticed as well
the major key sort of divides into two halves. So we can go, for instance
C G7/D C7/E F G/F (Em7) C/E Dm7 G7 C
Notice how nice that Bb-A-B-C thing is!
C G7/D C7/E F(6) and then G F/A G7/B C
Or even
C G7/D C7/E F(6) and then G D7/A G7/B C
This is congruent with the 18th century way of solfeging a major scale
Do re mi fa sol re mi fa
instead of
do re mi fa sol la ti do.
Mi Fa can always take 6 b5 - 5 3
OTOH Fa mi can always take #4 2 - 6
(and Re can always take #6 4 3)
C D7/C G/B D7/A G G7/F C/E Dm7 G7 C
So two identical harmonisations of the Fa Mi Re Do/Sol tetrachord
We kind of get a couple of cadences in G followed by a couple of cadences in C. It's actually impossible to tell that you are in C until you hear the G7/F.
-
Originally Posted by Christian Miller
I must experiment with proper voicings for your ideas. I'm trying to play through everything using spread triads.
Interesting variations on the tetrachord and interesting that you are approaching this from a solfege perspective.
Just shows that there is more than one road that leads to Rome....
Though the Ijzerman book is very good. At least I think so. I must reconcile all the ideas that I played around with this morning before moving on.
-
Originally Posted by Liarspoker
go up a half step? 6 5 - 5 3
go down a half step? #4 2 - 6 3
“mi fa, fa mi is all there is in music”. Bachs name has two half steps of course B-A-C-H (Bb A C B) so he would say that.
hey even Pat gets it haha
-
Fancy a trip to the far future of the mid 19th C?
C D7/C G/B C7/Bb F/A Bb/Ab Eb/Gb
modulate to any key hahaha!!!!
there’s a bit like this in Waltz for Debby but the voice leading isn’t what they would have used … the #4 goes up and the 1 goes down…
-
Originally Posted by Christian Miller
-
Do you have the Nicholas Baragwanath book Christian?
If so, what do you think of it?
Thanks
-
Originally Posted by Liarspoker
Sanguinetti’s book has the same problem and Gjerdigen’s to some extent. There’s a reason for this, the people working in this area want to be clear about what is found in the sources and what is their own interpolation or inference; which is very important to people studying the historical context and trying to avoid their own biases but not something that’s not so useful or interesting to someone studying ‘how to.’
So while there’s a lot of info it is important not to expect too much in the way of a step by step how to manual in the way that Mortensen’s is. This reflects the people who wrote the books - JM is less an academic and more a piano teacher while GS, NB, RG etc are more academics. However I also understand Baragwanath is active in teaching this, so hopefully more material will come out. I think there’s enough in his book to get you started.Last edited by Christian Miller; 04-06-2023 at 06:41 AM.
-
Thanks so much Christian.
It is exactly for those reasons that I prefer the Ijzerman book to the Sanguinetti book ( although the GS book is very good too).
I love the schemata section in the JM Historical Improvisation book. Do this, then do this and, viola, an instant interesting piece of music.
I downloaded a few PDF's last night about 18th century solfeggio. Will read them today and then will make a decision whether or not to buy the NB book soon.
Scholarly books aren't cheap, even on Kindle!!
-
Originally Posted by Christian Miller
You are mutating two hexachords.
-
Originally Posted by Liarspoker
-
Originally Posted by Liarspoker
I enjoy that this makes me sound like a mad scientist
-
Originally Posted by Liarspoker
Last edited by Christian Miller; 04-06-2023 at 06:55 AM.
-
Originally Posted by Liarspoker
-
Not sure about this book haha
On Dowland’s ‘come again, sweet love doth now invite…’
“Example 1.7 shows an excerpt of a four-part madrigal by the English composer John Dowland (c. 1563–1626). The text tells about a person who is grieving over his lost love.”
Does it now? The subtext is not exactly subtle in this one and also present in the, ahem, climactic ascending sequence detailed in the extract.
-
Originally Posted by Liarspoker
-
Originally Posted by grahambop
Fools! I’ll show them all!
-
I'm not sure how to link to a PDF as when I click on the link in Google it takes me directly to the PDF but just Google 18th century solfege and click on the University of Nottingham PDF.
Christian I've send it to you via electronic mail to save you the trouble of Googling it.
Acquired of The Angels
Today, 05:26 PM in Guitar, Amps & Gizmos