Yeah but I want to learn how and why a certain scale works over a vamp like E to A or A to E . Do I need to know a lot of theory for that or can I just learn that?jancivil wrote:Maybe you can limit chords to two chords, a 'two-chord vamp', such as E to D which suggest a [E] mixolydian thing, or Em to A which gives you the fabric for [E] dorian.
I - bVII; i - IV
so you still have that drive a change provides you; then see if you can wean yourself & get the same feeling without the backing, the same type of line over just an ostinato in a bass line or riff. I think you want to get independent and come up with lines that are strong just as lines? you can suggest these movements without them being explicit or already present physically, if that makes sense.
Whats the process of the way I create music called?
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- KVRist
- Topic Starter
- 260 posts since 14 Mar, 2008
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
My point of view is that words isn't it; the things I'm going to type anyway are not me reiterating my reading, I noticed them in things I gravitated towards and they were available to me out of just f**king around.
- so you have Em to A; the character tone of E dorian [a major sixth in a minor quality mode], C#, resides in the A chord, that's the reason I gave that.
The E major to D major is the thing for [E] mixolydian playing. we have the major third for E; and the D, that character tone distinguishing 'mixolydian', a flat seven but in a major quality mode, is underlined by the D chord. And there's the other things via chord tones you could bring out once you have developed a sense of what works out of your imagination, over nothing, without any chord.
experiment! one thing I will suggest is making a little bit of material go as far as you can. Stick on one 'out' note through the change and develop a sense of tension/resolution in this more static environment, a sense of drama in the timing.
I don't think there IS a lot of theory for this, ie., what you find by ear you can take notice of and develop your own principles. I can't decide for anyone else what works for them.
- so you have Em to A; the character tone of E dorian [a major sixth in a minor quality mode], C#, resides in the A chord, that's the reason I gave that.
The E major to D major is the thing for [E] mixolydian playing. we have the major third for E; and the D, that character tone distinguishing 'mixolydian', a flat seven but in a major quality mode, is underlined by the D chord. And there's the other things via chord tones you could bring out once you have developed a sense of what works out of your imagination, over nothing, without any chord.
experiment! one thing I will suggest is making a little bit of material go as far as you can. Stick on one 'out' note through the change and develop a sense of tension/resolution in this more static environment, a sense of drama in the timing.
I don't think there IS a lot of theory for this, ie., what you find by ear you can take notice of and develop your own principles. I can't decide for anyone else what works for them.