Hi,
I'm searching for tunes, as the title says, really mainly composed around the 1/ 3/ 5/ degrees. Since I work on repetitive contemporean music meeting ITM, I'd need to work with "wide-opened" tunes, here's a few exemples: http://www.thesession.org/tunes/display/3768 http://www.thesession.org/tunes/display/1768
...I don't have good exemples in mind with jigs.
Thanks for help!
I don't understand the request. This music is harmonically very simple. Just about all of it is built around 1 3 and 5. (Often with a minor third). There are examples of rootles tunes, but even that's debatable.
"Repetitive contemporean music" is like Philip Glass's, Steve Reich's music.
Concerning the 1/3/5/ you right. But I'm precisely thinking of those kind of 'looping' tunes, nearly composed like was staying on the same and unique note... 'thought my exemples were explaining that particular feeling.
those tunes in your examples aren't really like most tunes. Probably because just playing the chord tones up and down the arpeggio isn't a very catchy melody.
while I really have serious misgivings about aiding or encouraging in any way contemporary music of any kind, you might have better luck working with fragments of well known tunes, composing out the intervals found in the fragment you chose, and reintegrating the composition back into the recognizable form of the melody...
or something like that.
good luck, but don't you teach any of them tunes to my monkey
Don't know who to be more eloquent...
More repetitive than repetitive, more opened than openened... not 1/ 5/ but almost... only as a view of the mind... "Coachman's whip" could also be an exemple, maybe?
O'Keefe's slide. is Perpetual motion. Charlie Lennon's #4. Roll Her On The Mountain. The Fisherman's slip jig. The Heathery Breeze. These tunes are already what you are talking about doing!
Is that what you mean?
To me, Philip Glass always sounded like the accompaniment so something; no melody anywhere. We played his violin concerto; I thought it would never end.
I think the goal of P. Glass has often been to put people in a trance, and that's just a different way for playing/ listening music. But trad lovers can laugh, they almost do the same...
Root+ third+ dominant made tunes
Root+ third+ dominant made tunes
Hi,
I'm searching for tunes, as the title says, really mainly composed around the 1/ 3/ 5/ degrees. Since I work on repetitive contemporean music meeting ITM, I'd need to work with "wide-opened" tunes, here's a few exemples:
http://www.thesession.org/tunes/display/3768
http://www.thesession.org/tunes/display/1768
...I don't have good exemples in mind with jigs.
Thanks for help!
# Posted on June 22nd 2009 by protz
Re: Root+ third+ dominant made tunes
I don't understand the request. This music is harmonically very simple. Just about all of it is built around 1 3 and 5. (Often with a minor third). There are examples of rootles tunes, but even that's debatable.
And what is "repetitive contemporean music"?
# Posted on June 22nd 2009 by llig leahcim
"Repetitive contemporean music" is like Philip Glass's, Steve Reich's music.
Concerning the 1/3/5/ you right. But I'm precisely thinking of those kind of 'looping' tunes, nearly composed like was staying on the same and unique note... 'thought my exemples were explaining that particular feeling.
# Posted on June 22nd 2009 by protz
Re: Root+ third+ dominant made tunes
I've got a different version of plough & stars, prefer Dancing feet as a good exemple.
# Posted on June 22nd 2009 by protz
Re: Root+ third+ dominant made tunes
those tunes in your examples aren't really like most tunes. Probably because just playing the chord tones up and down the arpeggio isn't a very catchy melody.
while I really have serious misgivings about aiding or encouraging in any way contemporary music of any kind, you might have better luck working with fragments of well known tunes, composing out the intervals found in the fragment you chose, and reintegrating the composition back into the recognizable form of the melody...
or something like that.
good luck, but don't you teach any of them tunes to my monkey
# Posted on June 22nd 2009 by Nate Ryan
Re: Root+ third+ dominant made tunes
Don't know who to be more eloquent...
More repetitive than repetitive, more opened than openened... not 1/ 5/ but almost... only as a view of the mind... "Coachman's whip" could also be an exemple, maybe?
# Posted on June 22nd 2009 by protz
Re: Root+ third+ dominant made tunes
O'Keefe's slide. is Perpetual motion. Charlie Lennon's #4. Roll Her On The Mountain. The Fisherman's slip jig. The Heathery Breeze. These tunes are already what you are talking about doing!
Is that what you mean?
# Posted on June 22nd 2009 by justjim
Re: Root+ third+ dominant made tunes
knock knock- whos there? philip glass.
knock knock- whos there? philip glass.
knock knock- whos there? philip glass.
# Posted on June 22nd 2009 by Murad Reis
Re: Root+ third+ dominant made tunes
Music For A Found Harmonium.
# Posted on June 23rd 2009 by Sugarfoot Jack
Re: Root+ third+ dominant made tunes
To me, Philip Glass always sounded like the accompaniment so something; no melody anywhere. We played his violin concerto; I thought it would never end.
# Posted on June 23rd 2009 by Greg the Piano Tuner
Re: Root+ third+ dominant made tunes
Murad LOL :DDD
# Posted on June 23rd 2009 by protz
Re: Root+ third+ dominant made tunes
I think the goal of P. Glass has often been to put people in a trance, and that's just a different way for playing/ listening music. But trad lovers can laugh, they almost do the same...
# Posted on June 23rd 2009 by protz