kev11111111111111
Rus W
Great job! I really saw "slapstick" comedy, silent slapstick comedy going on. I also heard a darker and less comedic version of this (it could certainly turn into one).
Also, the fact that it's an Authentic Cadence (V7/7b9-i) - just tells you how simple it is from an analysis perspective. I also like the mMaj9 at the end which says the harmonic scale was used (and it is with lots of tunes in minor keys in V7s in them) and being that this chord (as well as the mMaj7) is what I called the "Spy chord."
What in the world? I just hummed this tune: http://www.youtube.com/watch?v=wBmZAg8HxfY (Check the violin solo - 1:04-1:27). The V7-i happens alot here. (Both songs used the V7-i in the thematic - or opening statement. Am-E7-Am: first tune, E-B7-E, second tune (3:04) My favorite game and game theme, btw. btw
With that said, great job again!
Hi Rus
It could well get darker this tune I agree,I defo hear the potential !
Agreed it is very simple from an anaylsis point of view.When I first starting writing it I was tempted to go into a cycle of 5ths.B7b9,Em7,Am7,D7,G7,F Sharp and then back to B7.But it started to lose the feel and I wasnt satisified with where it was going.So I thought I'd try to keep the semitone interval ( B to C) going as a motive throughout.The middle is based on Em,with the melody creeping up by a semitone from the 5 th to C,then C sharp,then dropping back to the 5th....so it 'just' holds together :)
Minor major 9ths,hey dont get me started man !!! My favorite chord of all time :)
I loved the music on the link u gave.Is it yours ? My favorite bit is the brass around 2.38,sounds absolutely huge..
Thanks for listening,
Kev
Yeah, such a cycle is fine, but the fifth chord sort of kills it. That's why songs "cheat" with the tritone (root) sub. Autumn Leaves as the most concrete example:
(Gm)-Cm7-F7-BbM7-EbM7-
Am7b5-D7-Gm. Often the cycle stops on the fourth chord, hit a speed-bump and start again; yet, having the speed bump there makes alot of sense. Not to mention, that such a cycle is the ii-V-I repeated.
Let's say the key's Bb, but C is at the top of the clock: (Flats going right, Sharps going Left)
C = 12:00, F = 1:00 and Bb = 2:00; however, C = ii, F = V, Bb = I
Let's put F @ 12, Bb @ 1 and Eb @ 2 (ii-V-I)
The tritone sub is six hours away: C/F# = C @ 12:00 F# @ 6:00 (Time of day is optional)
While Eb is @ 3:00, A (tritone) would be @ 9:00
So, in the case of AL: (Gm)-Cm7-F7-BbM7-EbM7-
Am7b5-D7-Gm.
Noon-1pm-2pm-3pm-4pm-
10pm-11pm-Midnight (or 10am-11am-Noon)
Don't get you started! hahaha! In that case, I guess you see my "devotion" to the 7b9/13b9 - really just the b9 interval - (the violin solo used it) - which is a fully diminished seventh when the root is removed. (One teacher described this as a pregnant chord - you heard me right - PREGNANT! Here for yourself:
http://www.youtube.com/watch?v=Jl486jbRwUo (The talk of sevenths is around 4:30) I'll quote the 7b9: "It's REALLY pregnant! It's due the next day!" (I so cracked up the first time I heard that!) "If you like the b9th ... and I do!")
As to your question, if that is my tune: I flippin' wish! No, it really isn't though I have tried arranging it. Just not feeling up to it right now nor have I for awhile. I'm still trying to fix (production wise) Blossoms. I do have an additional section not found in the original. I think you'll like it when you hear it. I'm also thinking maybe two versions: Rhythm and Rhythm-less. However, the rhythm-less one will have alot of silence given how I arranged it.
I'll check out your other tracks later. Again, keep up the good work!