Page 10 of 10
Eb A E A B Eb?
PS. Still want that write up?
Quote by les_kris
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 :  C (I)
 :  * Phrase 1 (antecedant) begins

 :  G (V)                                                 A (vi)
 :                               Phrase 1 antecedant ends * Phrs 2 antc. begins

 :  Dm (ii)                    Emb9 (iiib9/vb9)           D (II/V (vb9-vi/V))

 :  G                          C/G (I6/4)      G (V)      C/E (I/6)       G
 :  * Phrase 2 antecedant ends, Phrase 1 consequential begins

 :  C (I)           G (V)      Am (vi)         E7 (iii/V) A (I)
 :                            Phrase 1 consequential ends * Phs 2 cons. begins

 :  D (II/IV)                  E7/G# (III7/6 / V)         G (V7)

 :  C  
 :  * Phrase 2 consequential ends

The first part of this is pretty straight forward, the first phrase follows C for the first 3 measures, and switches to G. The V-vi cadence (a deceptive cadence) is the end of this phrase, I've already said we're elliding all of our endings and beginnings, so it's also the beginning of the second phrase.

For the second phrase, which is a measure shorter, we actually make a full change to A minor, instead of C. This happens as I set up the iv-V-i cadence, which never happens. Instead, at 9 I raise the vi/ii chord to II and set up the V-I/V authentic cadence. The i-iv-v should be pretty apparant, so how does going back to iv set up a V-I cadence? When the chord is raised to it's major counterpart to set up a 'real' Co5 progression, you can sort of look at the entire progression as getting 'reset'. The chord after the D (G) is actually what makes this work, because it resolves the dissonance raised by all three measures. The Emb9 is kind of a necessary evil; what's really happening is if we remove the upper voices, and look just at the bass, the E acts as a passing tone (yes, it's rather 'long') for D, the G acts as an elongation of E (partial arpeggiation, returning) and we finally get back to D--this is strong enough to act on it's own, but in the upper voices the E will want to 'split', or 'remove two voices from unison.' That's the necessity of the F, it acts as a leading tone for the F# in the next movement. Kind of a verbose way of explaining that, but it's the first real trickery we see here. I actually made a mistake in the tab here; the F should have been left ringing with the E following it on the B string (at 17), the E is necessary to avoid every voice moving in the same direction at the chord change. Astute theorists may ask why we don't leave G in the upper voicing, which would act as a inverse leading tone for the F# at the change, again we'll end up with every voice moving in the same direction--and TBH, it's not strong enough. The desire for G to move up to the A in Em-D is strong enough that the change from F to F# in the preceding measures is audible, it's like hearing someone drop a drum *thunk*. The cadence D-G is the ending of this phrase, and the beginning of the first consequential.
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club
Last edited by Corwinoid at Jun 7, 2005,
For the first consequential, the idea is to outline C again, keeping it structurally similar. What's really happening is a continual V-I vamp, changing back to V on the last pulse of each measure. This is one of my favorite techniques, especially in 3/4 time. I continually vamp the V-I, with I in 'descending' (I guess?) inversions: I6/4-I6-I (or C/G, C/E, C). I love this so much because it's so strong, and you can get so many different sounds out of it--with a full orchestra and a full stop on the second pulse you can get this really dramatic DUH-DUH-DUH-DUH-DUH-DUH driving phrase out of it, or here you can get a really flowing yet punchy movement. Really cool This was probably the hardest part of the entire problem, though, really--the progression, especially at the end of this phrase, is radically different from the antecedant portion; what keeps them related is how structurally similar they are. It's exactly the same rhythm, exactly the same pitch direction, just different notes. Looking at this part from a 'when and how' things are 'said' works better than looking at what's being said. Especially difficult is that the G-Am deceptive cadence isn't the end of this, as we expect it to be. Instead, there's a quick jump to Am, moving G-Am (that's pretty common) and Am-E7; we can already see what's coming, it's the same idea as the movement to end the second antecedant: E7-A.

The second consequential is something nifty also. Before I wrote this peice I'd been talking to a friend of mine about working in parallel major/minor. He was talking about how composers like Ives and whonot love swapping between parallel minor and major keys, and how good it sounds. I was like "yeaaaaaah, I can do that." This was kind of my way of saying my practical experience is better than your comp degree! This would be really really straight forward if it weren't for the need for the last chord to be G or G7, quite a conundrum. The first idea is your basic I-IV-V progression in A, and we get that far, with A-D-E7--now we've got two distinct problems. E7 very clearly wants to resolve to A here, and we've built that up quite strongly, AND we've got a semi-tone difference between the strongest note in the chord, and the root of the next chord. The latter part is solved by dropping the G# into the bass, so it has a half step movement downwards into the next measure, and the former part is solved not how I solved it. Dug myself a whole and filled it in from the bottom really, there's no good way to explain this, other than using a lot of voicing 'tricks' to explain my way out of something that doesn't work, and doesn't sound that great. The idea is to view the E as a raised III chord in C, moving to G, setting up V-I to end; that much works. With the half step downwards movement, every other voice 'should' move up, which they don't--the actual sheet for this has a whole bunch of ties and ledger lines, and just generally looks really horrible. On the bright side, it doesn't sound so bad as to be detractive from the work as a whole. Even if I do cringe every time I hear it

BTW, you guys up for something that's purely aural (hearing?)
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club
Do whatever you want. I'm just saying I'm no more than mediocre with... What exactly are you thinking..?

EDIT: Cor, do this aural thing. I want to see if a certain self confident person can get it.
Last edited by slash_pwns at Jun 7, 2005,
Alright, this is pretty straight forward. On my dmusic site ( there's a track titled I Think I've Lost Count. What time signature would you give that?

Headaches for the rest of us:
OR, if you can't count (and I don't blame you), a little reverse engineering problem.

I was sitting around on vacation this weekend, playing with my digital mixing stuff, about 5 in the morning, and wanted to wake up the gf. So I came up with this. Pretty eerie, if you check it out tell me what it reminds you of:

At the same, there's a track titled Crunch Crunch. What instrument is that, and what's the primary effect?
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club
^ SO close, it's not distortion. And kick to be specific :P

Imagine that coming out of my big ass mid-field monitors spaced around a hotel room. I probably woke up everybody in the place, absolutely classic.
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club
^ Nah... TBH, I didn't know until I dropped the dry signal completely out of the loop that you could even GET this kind of sound out of this effect.
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club
Well, the volume boost is what came to mind when you said *boom*

The stupid click track was kind of funny so I dodged that... Although I had a slight 3/8 feel in the beginning.

EDIT: Ahhh it delay!!!

I remember messing around w/ my delay pedal now... Muwhahaha
Last edited by slash_pwns at Jun 8, 2005,
I'll take delay, though it's in the effects chain after the REVERB, dolt. The unsynched delay gives that super background hum, but that huge crunching sound is just some evil reverb settings. Seeing as synthed reverb is just a tricky delay loop, that's good enough.

So, I turned off all the lights, and sent this booming through the room... I've never seen anybody wake up so fast. The windows are shaking (I'm not kidding), it's pitch black, and this horrible noise is booming around the hotel room. She bolts out of bed, looks around, and starts screaming at me "WTF YOU F'ING JACKASS?!!" Going off on this tyrade. And I'm sitting there giggling like a little girl.

Very funny, at least in my opinion; and as far as I know, no complaints from anyone else either!

So, that makes it your go... and if you're wondering, the click track is 15/16, with a rest on 1. Very hard
Quote by les_kris
Corwinoid is God
I'm not even God-like... I've officially usurped the Almighty's throne.
Click here to worship me.

Member #3 of the Corwinoid Fan Club



Put barlines and chord names

Chords reflect overall tonallity.
Well I'll assume they are all the same note amount:

 C6/E   Cadd#11/E Fm7(-9)   G           Em7           F#m7(+5)Em7       F#dim

 F#dim  Em    F#dim Em      Em11/F#     Gadd4 Asus2

I probably messed up a few chords, but that's my first guess.
Last edited by el57 at Jun 12, 2005,
I've got

1st Bar: Cmaj6 Cmaj(#11) F#m7b9 (F#m7b9 again)
2nd Bar: G (G again) Em7 Em
3rd Bar: F#m7+ (or F#m7b13) F#m7b9 Em7 F#dim
4th Bar: F#dim E5 F#dim Em
5th Bar: Em9 Em(11) Gmaj13 Asus2


Looking for my India/Django.
NO! lol i posted 16 minutes before your edit! muahahahahaha!

just kidding lol. your call slash.
Looking for my India/Django.
el57: C6/E = C6 lol... work on that


1st Bar: [Good] [Nope (Root is E)] [Good] [(F#m7b9 doesnt repeat... Watch that)]

2nd Bar: [Good] [(Good again)] [Good] [Good]

3rd Bar: [Good] [Good] [Good] [Good]

4th Bar: [Good] [Good] [Good] [Good]

5th Bar: [Nope (root is B for #1)] [Good] [Nope (root = C)] [Good]