#1
Hey everybody! Happy Post-Holidays!

I recently wrapped up the most intense couple weeks of my life. School/Work was completely insane, and there was a solid 4 days of consecutive sleepless nights.

I had been joking the entire time that it would kill me, but I would come back stronger and more powerful, and now here I am with these strange new mod powers.

But enough about me, I just wanted to let MT know that I am currently alive and have no intentions of going mad with power.

What I DID want to talk about was the resumption of "Jet Talks X" and the upcoming E.C. Project Mk.2!


As far as JTJ is concerned, my plan is to tackle these topics next:

1. The Diminished Scale
2. Using Pentatonics like a Champ
3. Triads and Superimposition'
4. Playing Outside - With Logic & Development
5. Harmonic Major: What is it and how the hell do I use it?
6. How to Play Every Chord Ever with 4 fingers
7. Comping: Not just for the Elderly and Jazz Nerds
8. Reharm: Turning V-I into V-FUN.

And then maybe one more "appendix-type" thread to consolidate everything. Let me know if there are further things we want a thread on and I'll turn it into something.

In addition, now that I have something called "free-time" I will be doing my best to include audio/TAB examples so the threads aren't just me yelling at everyone.

As far as the next composition challenge goes, I've decided we're going to split into teams of writer/orchestrator. You guys can either sign up as a team, or I can randomly match you up.

The writer is in charge of the melody and chord progression, while the orchestrator will do instrumentation and arrangements. Reharm is allowed.

If you guys have suggestions for additional parameters for round 2, post them here; I'll put the actual thread up in a day or two. You can sign up in either of these threads or PM me, we'll get the ball rolling when the clock strikes 2015.

Also, any other suggestions for future MT shenanigans and threads are welcome to be suggested here, just post away.

It's good to be alive again and I'm looking forward to continuing to hang with the MT crowd, especially now that I get to decapitate adbots.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#2
First of all congrats on finishing school Jet! For the writer/orchestrator stuff, how many liberties can the orchestrator take? Could the orchestrator cut the melody back to its bones and then flesh it out again?
#3
Thanks Golden, I got one more semester of career prep/directed study ahead and then I'm a free man.

I'm not sure, I was thinking that the pitches and basic rhythms should be fixed, so as not to erase the pervious persons work.

However, I see no issue with passing the melody around between instruments or changing the phrasing and articulations to fit a style/time sig/arrangement.

Ex: If they give you the melody Happy Birthday, you should still be able to tell its Happy Birthday after you are done with it.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#5
Quote by Jet Penguin

5. Harmonic Major: What is it and how the hell do I use it?

Ahhhh he's gone mad with power!!


I don't usually participate in forum challenge things, but the orchestration thing sounds great. It's also part of what I hope to do professionally, so I guess I could use some practice
#6
Quote by UnmagicMushroom

I don't usually participate in forum challenge things, but the orchestration thing sounds great. It's also part of what I hope to do professionally, so I guess I could use some practice

Lol it's a pretty sucky job, especially when the melody writer is shite. Team up with me as an arranger so I can give you hell.
#7
Nice to have you back. I've been on a break from my studies for more than a month now and still have a few more up my sleeve so I can focus on improving both technique and theory. I'd be interested in knowing Jet, will you be using examples outside of Latin Jazz when referring to the Diminished scale?
#9
Quote by UnmagicMushroom

Yeah, I'm pretty familiar Zappa and with nested tuplets and all. Composer of New Music here!

http://www.vai.com/tempo-mental/

Funny thing is that a lot of stuff is quite annoying to notate in Sibelius.

Edit: Thing is, a lot of these rhythms can be simplified by one level through metric modulation. But I won't give you anything this hard as a melody writer, it'll be vanilla with a hint of mint.
Last edited by GoldenGuitar at Dec 30, 2014,
#10
@Hayden: Yeah, I'm going to try and keep the example genre-less, so they can apply to any situation.


And Golden, there are no crappy melodies. Only melodies in crappy locations.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#11
It's strange about harmonic major, I've seen it mentioned in several German texts had never found any English texts which talk about it.

Perhaps the situation has changed in the past five years since I last checked, however.
Last edited by Vlasco at Dec 30, 2014,
#12
It's actually required at Berklee now that you know Harmonic Major.

But then again, they are obsessed with CST there with its ups and downs.

It's very much a jazz/CST thing the way they use and teach it, but there are other implications/applications of the scale that are far more interesting IMO.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#14
Quote by Jet Penguin
It's actually required at Berklee now that you know Harmonic Major.

But then again, they are obsessed with CST there with its ups and downs.

It's very much a jazz/CST thing the way they use and teach it, but there are other implications/applications of the scale that are far more interesting IMO.


That is interesting that you say that because it was at one of the Berklee sister schools in Germany that I saw it first (in the Frank Haunschild CST book which is now also in English I believe), whereas I had not seen it at Berklee or in any of their texts up to that time.
#15
Yeah, they've embraced it now.

They use it to "fill out" a gap in CST created when you have a dominant chord that implies minor but goes to major. So if you had:

G9 (b13) - Cm

You would just use C harmonic minor over the whole thing.

But if you had the same thing going to C major, Berklee would want you to use C harmonic major.

Which, to me, makes sense, but is also completely insane and overcomplicated. No one does that in the literature, and the resolution of a minor-pointing dominant to a major chord is neither odd nor unpleasant by any means.

But I digress, more on all this in the thread.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#16
Quote by Jet Penguin

And Golden, there are no crappy melodies. Only melodies in crappy locations.

Yeah, I know. That's why I double checked with you and asked for certains liberties in regards to temporal manipulation.