music:
Dj meme - Chason du Soleil, it's not french...hehehe..beautiful melody.
I think the key is Ab major.
I was wondering if you could help me figure out the chords from those remixes and give some feedback why it works so well with the vocal(music theory).
Would you do something diferent on the composition?What?How?
I love the chorus with strings after 2:46, which instruments he used sounds 70's, really good.
I would like to learn to compose like that, think like that.
I know dj meme uses real musicians in his remixes so is always amazing.
Really like the bassline on first remix as well.
@ 1 minute the piano parts before he sings and what the piano does when he sings as well.And fill @ 2:46.
sax part with piano chords in the begining.
second song, the piano part...it plays all over this remix.
In This remix Shane puts a spin composing a piano(riff??) that play througout the whole song playing together with the strings chorus part I mention earlier.Why it works well, what he used chordwise.
http://music.myspace.com/index.cfm?fuse ... d=88403269
Are those composition really jazz style, flying around the pentatonic scale and the relative key F minor?
Thanks.
Analysing this Remixes
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
Yes, this song is in Ab. The pianist is just going back and forth between Ab and Eb. He is playing the chords in octaves in the right hand a lot (i.e. 1 3 5 1) towards the upper register of the keyboard and also plays triads in the middle register.
This chord change works so well with the vocal melody because the vocal melody uses only the first 5 notes of the Ab scale, which outlines the Ab chord in a simple, effective fashion.
What would I do with the song? I would probably try some common jazz chord substitutions in there. It would probably be a bit much for this song, so then I would just try to play common major jazz licks over Ab and maybe a few dominant jazz licks over the Eb. That might work. This is a simple song and simple arpeggio runs would sound OK. I don't like to do much when playing behind a vocalist because they should be the focus of the song, not me.
Second song: I am hearing Abmaj7 occasionally, but it's basically still Ab to Eb. Honestly, if you just play the first 5 notes of the scale and sometimes the 7th note (mostly over the Eb, where it becomes the 3rd of that chord), I think you will be very happy. Just avoid the F. I only hear the bass playing the F as a passing note. I never hear the keyboards, strings, or vocals land on an F.
Third song: Now I can hear the parts correctly! He is really playing Dbmaj9 to Abmaj9. So, that means the song is really going from IVmaj9 to Imaj9. This is a very common move, going back and forth between I and IV.
I was tempted to go back and edit this post, but decided against it. We are all trying to learn here and the only way you do that is by making mistakes. I don't think this necessarily makes my earlier analysis incorrect since it was for the part I could hear, the right hand keyboard part. I am listening on iPod ear buds and they don't reproduce bass notes very well at all. If I was using my subwoofer I would have got it right at the get go, but it's late at night right now and I don't want to disturb anybody. That's my story and I'm sticking to it!
Anyway, you can play Ab or Fm7 over the Dbmaj9 and Eb or Cm7 over Abmaj9. The big chord voicing that I would use for those major 9th chords is 1 5 9 in the left hand and 3 5 7 9 in the right. Jump up an octave and play a triad with octaves in the right hand (9 5 7 9). Occasionally break these chords up into arpeggios; copy the rhythms and you'll be sounding like the record in no time!
I would say this song is more disco than jazz, so I would consider it pop music. You must realize that artists who use studio musicians are usually hiring the finest classical and jazz musicians available to them, and those musical influences tend to come out in their playing, regardless of style. You don't have to be a great composer or arranger, although it does help. If you have the money to spend on the top session players, I guarantee they will do everything they can to make your compositions sound great.
I don't know if you are familiar with the late Issac Hayes or not. Younger people will know him as the voice of 'Chef' from South Park. In the 1970's, he was a famous musician who composed the soundtrack for the movie 'Shaft.' Anyway, he could play keyboards, but he could not read or write a lick of music to save his life, so we can assume his knowledge of music theory was very poor. He ended up working with copyists, either singing or playing on the organ the parts he wanted each orchestral section to reproduce. The moral of the story is don't let lack of knowledge or skill keep you from bringing your musical ideas to fruition.
This chord change works so well with the vocal melody because the vocal melody uses only the first 5 notes of the Ab scale, which outlines the Ab chord in a simple, effective fashion.
What would I do with the song? I would probably try some common jazz chord substitutions in there. It would probably be a bit much for this song, so then I would just try to play common major jazz licks over Ab and maybe a few dominant jazz licks over the Eb. That might work. This is a simple song and simple arpeggio runs would sound OK. I don't like to do much when playing behind a vocalist because they should be the focus of the song, not me.
Second song: I am hearing Abmaj7 occasionally, but it's basically still Ab to Eb. Honestly, if you just play the first 5 notes of the scale and sometimes the 7th note (mostly over the Eb, where it becomes the 3rd of that chord), I think you will be very happy. Just avoid the F. I only hear the bass playing the F as a passing note. I never hear the keyboards, strings, or vocals land on an F.
Third song: Now I can hear the parts correctly! He is really playing Dbmaj9 to Abmaj9. So, that means the song is really going from IVmaj9 to Imaj9. This is a very common move, going back and forth between I and IV.
I was tempted to go back and edit this post, but decided against it. We are all trying to learn here and the only way you do that is by making mistakes. I don't think this necessarily makes my earlier analysis incorrect since it was for the part I could hear, the right hand keyboard part. I am listening on iPod ear buds and they don't reproduce bass notes very well at all. If I was using my subwoofer I would have got it right at the get go, but it's late at night right now and I don't want to disturb anybody. That's my story and I'm sticking to it!
Anyway, you can play Ab or Fm7 over the Dbmaj9 and Eb or Cm7 over Abmaj9. The big chord voicing that I would use for those major 9th chords is 1 5 9 in the left hand and 3 5 7 9 in the right. Jump up an octave and play a triad with octaves in the right hand (9 5 7 9). Occasionally break these chords up into arpeggios; copy the rhythms and you'll be sounding like the record in no time!
I would say this song is more disco than jazz, so I would consider it pop music. You must realize that artists who use studio musicians are usually hiring the finest classical and jazz musicians available to them, and those musical influences tend to come out in their playing, regardless of style. You don't have to be a great composer or arranger, although it does help. If you have the money to spend on the top session players, I guarantee they will do everything they can to make your compositions sound great.
I don't know if you are familiar with the late Issac Hayes or not. Younger people will know him as the voice of 'Chef' from South Park. In the 1970's, he was a famous musician who composed the soundtrack for the movie 'Shaft.' Anyway, he could play keyboards, but he could not read or write a lick of music to save his life, so we can assume his knowledge of music theory was very poor. He ended up working with copyists, either singing or playing on the organ the parts he wanted each orchestral section to reproduce. The moral of the story is don't let lack of knowledge or skill keep you from bringing your musical ideas to fruition.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
WOW psenior again thank you very much, I am speechless.
Awesome post.
I think analysing music like you just did will help several to understand what is going on and why works.
Amazing post, I know it should be a hard work to do all what you did.
I really appreciate your time doing this.
I wish it has a place where we could find music analysed like this so I could learn from it.Easier to understand the common approaches to composition and to go along to an existing melody/vocal.
Amazing!!!!
I'm still looking for a book to give me those tips in a simplier way without the need of knowing to read music.
Psenior the 3rd part where you said you could hear better is a diferent remix, so the musician did a diferent composition to the song and his piano composition played along well throughout the whole song.
He used parts from the original like the string part.
Maybe you are not wrong since it is 3 diferent versions of the same song.
Thanks again.
Awesome post.
I think analysing music like you just did will help several to understand what is going on and why works.
Amazing post, I know it should be a hard work to do all what you did.
I really appreciate your time doing this.
I wish it has a place where we could find music analysed like this so I could learn from it.Easier to understand the common approaches to composition and to go along to an existing melody/vocal.
Amazing!!!!
I'm still looking for a book to give me those tips in a simplier way without the need of knowing to read music.
Psenior the 3rd part where you said you could hear better is a diferent remix, so the musician did a diferent composition to the song and his piano composition played along well throughout the whole song.
He used parts from the original like the string part.
Maybe you are not wrong since it is 3 diferent versions of the same song.
Thanks again.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
You're welcome!
You can find harmonic analysis of jazz standards at jazzstandards.com. I don't know of any such resources for electronic dance music, however.
I am not a great note reader myself, but I can read chord charts well. I just trust my ears and fake it most of the time.
You are probably right about the 3rd remix being slightly different.
You can find harmonic analysis of jazz standards at jazzstandards.com. I don't know of any such resources for electronic dance music, however.
I am not a great note reader myself, but I can read chord charts well. I just trust my ears and fake it most of the time.
You are probably right about the 3rd remix being slightly different.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
Hey Psenior I have another one, this one is a little older, but same style.
I think this one is way harder than the first one, the singer goes all over the place??
I ask some musician friends to help me some time ago and none could compose something good/better than what grant nelson did in his version(piano part).
Key is E minor.
I would like to know what the remixer/musician did on those remixes, why he used those chords/notes,why work so well, pretty much same stuff you did earlier if you could,please.
1-original:
2-eric kupper remix/beautifull version as well:
3-grant nelson(this remix made the music big), specially the piano chords @ 1:22 and play throughout the whole song.
love strings stacatto(?) with piano chords.
Again why the piano played so well with the voice?
I couldn't recreate/remix something better than those piano chords, any advice??
4-amazing version/accoustic....love the guitar,strings,amazing.
Thanks.
I think this one is way harder than the first one, the singer goes all over the place??
I ask some musician friends to help me some time ago and none could compose something good/better than what grant nelson did in his version(piano part).
Key is E minor.
I would like to know what the remixer/musician did on those remixes, why he used those chords/notes,why work so well, pretty much same stuff you did earlier if you could,please.
1-original:
2-eric kupper remix/beautifull version as well:
3-grant nelson(this remix made the music big), specially the piano chords @ 1:22 and play throughout the whole song.
love strings stacatto(?) with piano chords.
Again why the piano played so well with the voice?
I couldn't recreate/remix something better than those piano chords, any advice??
4-amazing version/accoustic....love the guitar,strings,amazing.
Thanks.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
OK, quick reply for now. I think song is in A minor. So far, I'm hearing Fmaj9, G/A and D/E. I will get you the other chords later tonight. I gotta go; gotta run sound for my wife while she sings worship music at tonight's Bible study.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
1-original:
Key: E minor. You were right! I do find myself playing B minor pentatonic over it, though.
Verse: Fmaj9 G/A Em9. Sometimes the last chord goes from D/E to Em. Think thirds in the right hand: F#-A to G-B.
Intro keyboard melody: E C A G (Am7 descending arpeggio), D B A G (Gadd9 descending arpeggio), then an F# note at the end.
I can't figure out what notes the wah-wah/phaser Rhodes is playing percussively throughout the song. Sorry!
Chorus: C Gmaj7 Em11 (sometimes Em9)
Why this sounds good: The girl singer has pitch problems. She is constantly flat and sliding up into her notes. Between this and her constantly singing pentatonic scales, it sounds kind of blue. The verse is dark, staying in E minor pentatonic. In the chorus, she sings C major pentatonic somewhat. Her melody hits almost all the white keys on the keyboard.
This song uses harmonic stacking. For example, Em, G, Gmaj7, Em9, Em11 are all basically the same chord. We are just adding every other note of the ascending E minor scale to get this. This gives you a lot of freedom as a keyboard player. You don't have to think as much. Especially in this song, you can hit any or all of these harmonies and they would be OK. Just don't play them over the Fmaj9 or C, unless you want to sound very far out.
Speaking of which, C, Am7, and Fmaj9 are all basically the same chord as well, since they all stack nicely by adding a third downwards in the C major scale. So you could play any or all of these harmonies in the appropriate spots in the song and it would sound OK.
In fact, if you were to play Fmaj7 in the left hand and Gmaj7 (Gmaj9 if your hand is big enough) in the right, you would be playing all the notes used in this song in a stacked fashion. All the chords described previously would fall somewhere within the huge stack we have just created. And there are a bunch more in there we could use if we felt like it.
So, what is the name of this chord? I dunno? What if we played it as a scale? Is it C major with an added F#? G major with and added F? I dunno? Honestly, who cares? It sounds good. C major and G major (same as E minor) have only 1 note different between them, and this chord/scale merges the two together.
If I had to guess, I would assume this scale/chord would be found or described in George Russell's Lydian Chromatic Concept of Tonal Organization. His way of looking at music theory involves a lot of major 7ths, which this thing has in spades.
2-eric kupper remix:
The little piano riff at the beginning: E B D A G F# D B G
Next riff is the 1st 5 notes of the E minor scale, then repeat an octave higher.
Riff after that, he is pretty much descending the E minor scale in thirds. He may start out playing a descending 4th.
Next riff after that, he is playing E minor pentatonic descending 16th notes in 4 note groups (A G E D, G E D B, E D B A, etc.)
Next riff after that, octaves. Then the singing starts.
I like the eye candy in this video. Reminds me of when I was young and single, I used to go to South Beach all the time to drink and stare at the supermodels.
Probably all the chords are the same as the first one.
3-grant nelson:
OK, the chords sound slightly different: Em7/C (Cmaj9), Gmaj7, then an occasional shifting back and forth between Bm7 and Gmaj7 over E.
I am not surprised this mix made it big because I don't like it at all! I hate that techno synth melody. It just sounds bad to my ears.
4-amazing version/acoustic
I don't like this version either. I think the acoustic guitar player makes noticeable mistakes in some of his melodic lines, which just put me off.
Please don't ask me for the guitar chords; I understand guitar but I play poorly. Also, rhythmically, this track doesn't ebb and flow in a pleasing way to my ears.
So, what would I do if somebody paid me to remix this song? First, I would wait until the check cleared!
Next, I would go to South Beach late at night on the weekend and hang outside some clubs that play this kind of music to get inspired. Then, I would load up the vocal track in my DAW, loop it and just start playing around on the keyboards until I hear something I like. When I write, I use my ears and my imagination to let the music tell me where it wants to go. I try not to think. If I get stuck, then I use music theory to get unstuck. I would probably end up doing some things I have already mentioned earlier, such as playing B minor pentatonic melodies and using that big 1 5 9 3 5 7 9 chord voicing.
Key: E minor. You were right! I do find myself playing B minor pentatonic over it, though.
Verse: Fmaj9 G/A Em9. Sometimes the last chord goes from D/E to Em. Think thirds in the right hand: F#-A to G-B.
Intro keyboard melody: E C A G (Am7 descending arpeggio), D B A G (Gadd9 descending arpeggio), then an F# note at the end.
I can't figure out what notes the wah-wah/phaser Rhodes is playing percussively throughout the song. Sorry!
Chorus: C Gmaj7 Em11 (sometimes Em9)
Why this sounds good: The girl singer has pitch problems. She is constantly flat and sliding up into her notes. Between this and her constantly singing pentatonic scales, it sounds kind of blue. The verse is dark, staying in E minor pentatonic. In the chorus, she sings C major pentatonic somewhat. Her melody hits almost all the white keys on the keyboard.
This song uses harmonic stacking. For example, Em, G, Gmaj7, Em9, Em11 are all basically the same chord. We are just adding every other note of the ascending E minor scale to get this. This gives you a lot of freedom as a keyboard player. You don't have to think as much. Especially in this song, you can hit any or all of these harmonies and they would be OK. Just don't play them over the Fmaj9 or C, unless you want to sound very far out.
Speaking of which, C, Am7, and Fmaj9 are all basically the same chord as well, since they all stack nicely by adding a third downwards in the C major scale. So you could play any or all of these harmonies in the appropriate spots in the song and it would sound OK.
In fact, if you were to play Fmaj7 in the left hand and Gmaj7 (Gmaj9 if your hand is big enough) in the right, you would be playing all the notes used in this song in a stacked fashion. All the chords described previously would fall somewhere within the huge stack we have just created. And there are a bunch more in there we could use if we felt like it.
So, what is the name of this chord? I dunno? What if we played it as a scale? Is it C major with an added F#? G major with and added F? I dunno? Honestly, who cares? It sounds good. C major and G major (same as E minor) have only 1 note different between them, and this chord/scale merges the two together.
If I had to guess, I would assume this scale/chord would be found or described in George Russell's Lydian Chromatic Concept of Tonal Organization. His way of looking at music theory involves a lot of major 7ths, which this thing has in spades.
2-eric kupper remix:
The little piano riff at the beginning: E B D A G F# D B G
Next riff is the 1st 5 notes of the E minor scale, then repeat an octave higher.
Riff after that, he is pretty much descending the E minor scale in thirds. He may start out playing a descending 4th.
Next riff after that, he is playing E minor pentatonic descending 16th notes in 4 note groups (A G E D, G E D B, E D B A, etc.)
Next riff after that, octaves. Then the singing starts.
I like the eye candy in this video. Reminds me of when I was young and single, I used to go to South Beach all the time to drink and stare at the supermodels.
Probably all the chords are the same as the first one.
3-grant nelson:
OK, the chords sound slightly different: Em7/C (Cmaj9), Gmaj7, then an occasional shifting back and forth between Bm7 and Gmaj7 over E.
I am not surprised this mix made it big because I don't like it at all! I hate that techno synth melody. It just sounds bad to my ears.
4-amazing version/acoustic
I don't like this version either. I think the acoustic guitar player makes noticeable mistakes in some of his melodic lines, which just put me off.
Please don't ask me for the guitar chords; I understand guitar but I play poorly. Also, rhythmically, this track doesn't ebb and flow in a pleasing way to my ears.
So, what would I do if somebody paid me to remix this song? First, I would wait until the check cleared!
Next, I would go to South Beach late at night on the weekend and hang outside some clubs that play this kind of music to get inspired. Then, I would load up the vocal track in my DAW, loop it and just start playing around on the keyboards until I hear something I like. When I write, I use my ears and my imagination to let the music tell me where it wants to go. I try not to think. If I get stuck, then I use music theory to get unstuck. I would probably end up doing some things I have already mentioned earlier, such as playing B minor pentatonic melodies and using that big 1 5 9 3 5 7 9 chord voicing.-
- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
Again Psenior, thank you so much for everything.
Analyse the music with theory explaining everything, I think this is amazing.
I don't know how anyone is not doing this for house music or any club music, since the majority who are trying to learn doesn't have the ear or the knowledge of a great musician/teacher such you are.
Imagine a blog dissecting club hits with music theory explaining everything.
To think like a composer.
I have some questions about it but I have to read at least 5 times your post to absorb all the info properly...lol.
About the Grant Nelson remix...why you didn't like it?
"I hate that techno synth melody" Did you mean the single note string type of synth playing with the piano?@ 1:36 or in 2:36?
A friend long time ago once told me same thing you said about something wrong with her voice and grant nelson remix has something wrong as well. hehehehe.
But it's truth this version made the music HUGE.
Another song that has similar strings @ 0:51 seconds
But this one came first...maybe Grant Nelson was inspired by that.
By the way: Fade-Solu Music is one of those songs that all girls like to hear/dance in a night club.
South Beach kicks asssssssssss.Love Miami everytime I go there.
I would love to have the skills to compose something good with vocals, like those remixers.
Tell me more about your sugestions besides the B pentatonic,your way to compose with vocals.
Would you use some original chords with some jazz invertions, tritone substituitions?
In your opinion, rememember my ear is not relative yet, far from that, in the grant nelson did he used some stuff, chordwise, from the original or he created everything from scratch, since you said Eric's Kupper remix, used pretty much same chords/harmony/melody from the original.
I asked that so I would understand their approach to compose with vocals, which technics they used, what did they got from the original to inspire them to compose the way they did. Stuff like that.
Thanks again.
Analyse the music with theory explaining everything, I think this is amazing.
I don't know how anyone is not doing this for house music or any club music, since the majority who are trying to learn doesn't have the ear or the knowledge of a great musician/teacher such you are.
Imagine a blog dissecting club hits with music theory explaining everything.
To think like a composer.
I have some questions about it but I have to read at least 5 times your post to absorb all the info properly...lol.
About the Grant Nelson remix...why you didn't like it?
"I hate that techno synth melody" Did you mean the single note string type of synth playing with the piano?@ 1:36 or in 2:36?
A friend long time ago once told me same thing you said about something wrong with her voice and grant nelson remix has something wrong as well. hehehehe.
But it's truth this version made the music HUGE.
Another song that has similar strings @ 0:51 seconds
But this one came first...maybe Grant Nelson was inspired by that.
By the way: Fade-Solu Music is one of those songs that all girls like to hear/dance in a night club.
South Beach kicks asssssssssss.Love Miami everytime I go there.
I would love to have the skills to compose something good with vocals, like those remixers.
Tell me more about your sugestions besides the B pentatonic,your way to compose with vocals.
Would you use some original chords with some jazz invertions, tritone substituitions?
In your opinion, rememember my ear is not relative yet, far from that, in the grant nelson did he used some stuff, chordwise, from the original or he created everything from scratch, since you said Eric's Kupper remix, used pretty much same chords/harmony/melody from the original.
I asked that so I would understand their approach to compose with vocals, which technics they used, what did they got from the original to inspire them to compose the way they did. Stuff like that.
Thanks again.
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- KVRist
- 211 posts since 28 Apr, 2009 from Ft. Lauderdale, FL
Sorry my post is not the easiest to understand. I just kind of ramble stream-of-consciousness sometimes. Thanks for your kind comments.ecsmix wrote:Again Psenior, thank you so much for everything.
Analyse the music with theory explaining everything, I think this is amazing.
I don't know how anyone is not doing this for house music or any club music, since the majority who are trying to learn doesn't have the ear or the knowledge of a great musician/teacher such you are.
Imagine a blog dissecting club hits with music theory explaining everything.
To think like a composer.
I have some questions about it but I have to read at least 5 times your post to absorb all the info properly...lol.
Yes, I don't like the single note string synth playing with the piano. I just listened to it again and my wife and oldest son, both fine musicians, also don't like it. "It's ugly." I just played that melody: B D F# G D. This is a Gmaj7 broken arpeggio. I just think there are many other more pleasing ways to play a Gmaj7 arpeggio, such as G F# D B descending or F# D B G F# descending.ecsmix wrote:About the Grant Nelson remix...why you didn't like it?
"I hate that techno synth melody" Did you mean the single note string type of synth playing with the piano?@ 1:36 or in 2:36?
The girl is really not that good of a singer. Today, they would Autotune the hell out of her voice. I also think the vocal has too much reverb on it.ecsmix wrote:A friend long time ago once told me same thing you said about something wrong with her voice and grant nelson remix has something wrong as well. hehehehe.
But it's truth this version made the music HUGE.
You are probably right.ecsmix wrote:Another song that has similar strings @ 0:51 seconds
But this one came first...maybe Grant Nelson was inspired by that.
When I listen to modern pop music, usually, if I don't like it, it's a huge hit. When I was young and single, I liked any song the ladies liked. Drinking usually helped with the facade.ecsmix wrote:By the way: Fade-Solu Music is one of those songs that all girls like to hear/dance in a night club.
I haven't been down there since hip hop took it over; it's been at least 10 years or more now.ecsmix wrote:South Beach kicks asssssssssss.Love Miami everytime I go there.
Composing with vocals: My wife will write an entire song, lyrics and melodies for her vocals. First, I will figure out what the tempo is. Next, I try to figure out the key or keys it is in. Then, I try to determine the song's structure: verse, chorus, bridge, etc. We might talk about what other musical influences from other songs or artists we would like to have incorporated into the tune. Then, I just wait until I start feeling creative and sit down and get to work. I might start off with a drum loop. I might come up with a bass part or a guitar part. Even though I play keyboards I usually try not to put too much keyboards in my songs anymore if I can help it. I run it by her and make whatever changes are necessary until we are both happy. This is how I do it. Others may have totally different methods that work well for them.ecsmix wrote:your way to compose with vocals.
I don't think I would try any tritone substitions with this song because there are no dominant chords in it. Everything is either major or minor. We could put some dominants in there if we wanted but I think that would totally change the vibe of the song and would probably make it no longer sound like house music.ecsmix wrote: Would you use some original chords with some jazz invertions, tritone substituitions?
From one remix to another, I do hear some of the same material. Aside from the vocals, there is an electric funky guitar track that is the same in 2 or 3 of the mixes. The strings also sound like the same synth patch in some of the remixes but I am not sure if the parts are 100% the same (wasn't listening that closely).ecsmix wrote:In your opinion, rememember my ear is not relative yet, far from that, in the grant nelson did he used some stuff, chordwise, from the original or he created everything from scratch, since you said Eric's Kupper remix, used pretty much same chords/harmony/melody from the original.
I doubt if my analysis of that tune is what the remixers were thinking about when they were coming up with the track. They probably have very good ears and just went with whatever sounds they liked.ecsmix wrote:I asked that so I would understand their approach to compose with vocals, which technics they used, what did they got from the original to inspire them to compose the way they did. Stuff like that.
Thanks again.
Y'know what? I just figured out the name for this scale. It is G bebop dominant! I normally never would have thought to use this scale for playing chords, only melodies, because those are the rules. When you break the rules, you come up with some interesting stuff! I have been playing a variation of this scale over house music chord changes lately and it sounds really, really good.
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- KVRer
- 1 posts since 9 Jan, 2009
Just wanted to add my thanks to both ecsmix and psenior for this fascinating thread.
Can't say I really understand much of it, i'm not familiar enough with pitch to transpose notes and chords mentioned into something I can hear in my mind ( the audio equivalent of visualise what you are talking about). But if I find the time to sit down at the keyboard and play i'm sure it will start to make more sense.
Can't say I really understand much of it, i'm not familiar enough with pitch to transpose notes and chords mentioned into something I can hear in my mind ( the audio equivalent of visualise what you are talking about). But if I find the time to sit down at the keyboard and play i'm sure it will start to make more sense.
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- KVRist
- Topic Starter
- 212 posts since 5 Jun, 2006
Thanks noisecrime but psenior is the one that you have to say thanks, he is the one doing all the work, I am just like you, learning.
In case you didn't understand something just ask, I am sure psenior and others would be glad to help you, me included.
In case you didn't understand something just ask, I am sure psenior and others would be glad to help you, me included.