Видео

sure

@@paleontologi485 where’s the transcription?

Thanks. In general, perfect voice leading is not without its problems, because perfect voice leading itself doesn't care for the hierarchy of notes, that is, how to make a chord voicing sound evocative, whatever the chord family. Each line of notes might go their own way and even have their own melody but that might leave out space for important notes vertically for the chord they land on. Perhaps this is where instrumentation comes in to fill gaps.

​@@ohwhen7775 I agree. I think smooth voice leading inside the chord is more a principle than a strict rule. The ear only really hears the top melody note as a melody, not the voice led melodies inside the chord changes. Nice work with this excercise!

No, it isn't.

jennifer86010 are you sure he is not playing chord progressions? I believe he is using rootless voicings.

Thanks for the recommendation. A wonderful 5 minutes. Accessible post-impressionistic contentment. I bet Debussy is smiling somewhere

@@richardscrimger3969 You are probably right about Debussy, and Ravel, and Prokofiev smiling somewhere, but more akin to Jarrett's harmonies are film score composers, who used various harmonies specifically for the purpose of creating emotion and mood. Subtle arrangements which mirrored, accented and amplified the intended acting scene while developing plot reaction in movies. Most viewers are unaware that film music is affecting them, since humans are over 90% visual, but good film score writing is very powerful in terms of creating indelible mood. The actors and the main script writer for Alfred Hitchcock's "Psycho" were convinced that they were producing a laughable "B grade" box office flop, until they went in to see the final edited screening with Bernard Hermann's unforgettable music score added. Their laughs turned into terror, and Hitchcock told them all along that once they saw the finished edited movie with the music added they would be amazed. And they were. Janet Leigh, the star of the film, who filmed the famous shower murder scene, said that she had no negative feelings about doing the movie or the scene, until she saw the final screening with the music added. After that she said that she was so permanently frightened, that she refused to take showers for the rest of her life, and would only take baths in the tub, and she had a heavy duty security bathroom door installed with special deadbolt locks. Even as an actress who acted in the scene, and had done take after take to get the shower murder scene finally right, none of it phased her, knowing fully well that it was play acting, until she saw the movie, and then she reacted the same as any average movie goer who was scared out of her wits in seeing herself murdered, with that electrifying movie score screeching in the background. But unfortunately today, sound effects have overtaken good film score writing, and in many movies, much of the music plays second fiddle to the dubbed in sound effects editing. But in terms of the development of film score music, most of the great film score composers have learned from or have been inspired by the great classical impressionist composers, probably because they painted with so many different shades of color. Comparing Ravel, Debussy, Prokofiev, Rachmaninoff, Tchaikovsky and other impressionist composers to greats like Beethoven, Handel, and Mozart is a bit like comparing jet planes to the horse and buggy, in terms of harmony, arranging and compositional freedom. The classical greats were indeed great, and their music has stood the test of time, and it's still great, but the classical period of Beethoven had many creative limitations. Bach, however created a great deal of unintended harmony through his use of multidimensional counterpoint, which by its natural mixing, created new and even modern harmonies at times.

Did not know that Psycho stuff. Music is so integral to the film experience. Sidebar: are there films the soundtrack hurt? It's hard to imagine what a film would have been like with a different soundtrack. Many '30s dramas seem dated to us, but what if William Walton had scored them? Or Korngold? Those early Peter Greenaway films look awful pretentious, but I loved them when they came out because of the Nyman scores, which I now listen to on their own. Comparing Mozart and Rachmaninoff in terms of speed (buggy to jet) seems to miss the point. By that analogy, Stockhausen's quartet with helicopters would be teleportation or space flight. My reply is: so what? The tallest building is not the most beautiful or useful. Totally agree about Bach being in a different harmonic zone. He is exploring the universe, if you like. Hey, thanks for this opportunity to chat, Jennifer. Nice to meet you

@@richardscrimger3969 My composers comparison between the classical period and the romantic period deals more with the evolved harmonies and arranging techniques of the romantics vs. the orthodoxy of the classical days. However newer harmonies and freer arranging hadn't been invented yet in Beethoven's time, so it wasn't used, just as twentieth century music hadn't been used before it was invented. Mozart, however used the flatted third and the flatted fifth in many of his scales and phrases, which actually made him the first blues composer and keyboard player. I'm quite certain that Bach and Mozart, among other past greats, would dig well-played jazz if they were around today to listen to it. Korngold is one of my favorite film composers. His scores are so animated that if the movie projector's bulb burned out, the film score could tell the rest of the story. The experience of discovering jazz harmonies is exciting for every piano player and the experience of hearing advanced beautiful harmony is usually the same. The player learns major and minor chords in their beginning studies, then major sevenths, and forths, and other standard harmonies along the way, that sound like most plain mediocre popular tunes. But once they hear rich and evolved jazz piano harmonies (Bill Evans, Keith Jarrett) for the first time live, played on a piano in person...the reaction is always the same from piano players and music students...."Wow, what is that chord, and please tell me the fingerings." Advanced jazz harmony is always the natural progression beyond simple keyboard harmony that beginning students learn, which is also the simple harmony that amateur players learn and often never grow beyond. I heard Keith play some fundamental crude blues, using only major and minor chords with occasional flatted thirds and fifths. The same level that an intermediate piano student or amateur piano player would play. It was ugly. It was totally unlike Keith, even when he played as a child. His technique was as impressive as ever, but the harmony he played was painfully crude to listen to. Keith can play very simply, but always in an elegant and polished way. This was Keith playing crudely, and I'm sure he wanted to express a fundamental authenticity in the blues he was playing, but authentic or not, it was really difficult to listen to. So I tried doing it, playing the way I did as a kid when I first learned the blues. It was very difficult to un-learn the harmonic techniques I've developed over the years in order to play crudely. I got the same results that Keith did, which sounded harsh, crude and elementary. It also uncovered the fact that advanced harmony and how it's used makes a huge difference, even when playing a simple twelve bar blues structure. I won't return to that video of Keith playing crude elementary blues. It's was an experience similar to witnessing a favorite movie star mud wrestle. As a fan, I just don't want to hear my music idols sound that crude.

Video's unavailable, you wouldn't be able to copy and paste the title would you, I've the feeling you can't but I sure hope you can.

Owen wow you're right Here's the source: 斉藤由貴 - 誰のせいでもない

Damn that's the one alright thanks a lot, man that took a while to find, how did you find it?

Owen From here: rateyourmusic.com/list/FenrisulvenCpx/decipher-t-e-l-e-p-a-t-h/

Thanks, this is hella detailed, even with some sample sources missing, whoever telepath is/are the samples are rare and can be very well put together the way it's done.

I see it too

Thanks, although in the description I was actually referring to When the Levee Breaks ( ͡° ͜ʖ ͡°). But yeah I do like some of Björk's music including Army of Me. With the melodies it has, I'd imagine you could get pretty crazy with harmonizing it too. Your playlist must be set to private so I can only see the Hyperballad track, which btw here's a nice cover on that song - ruclips.net/video/paOMMbnSp_4/видео.html

Aah! Should have noticed. I don't think it is... I'll check. Mm, nice version of the bridge. Do you know any composers similar to Bjork?

I can see it now thanks, I'll have a look through it, some of my faves are in there. I guess Anja Garbarek is somewhat similar to Bjork, Sigur Rós (also from Iceland), & the Cocteau Twins.

Sigur Rós is fascinating. The others I've not yet heard of.

Right on dude, here you go - Just bear in mind that I took some minor liberties in adding things that weren't in the original, like the 9th in the second last chord and one of the Aeolian chords in the middle.

Awesome, thanks!