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jmk
Lokahi
USA
115 Posts |
 Posted - 08/22/2005 : 3:00:00 PM
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Regarding: Ozzie's Ritz Carlton Class: George's Wkshp last June
Does anyone remember Ozzie Kotani's chord shapes for the minor song introductions (also used for going out)?. Somehow I neglected to write those shapes down and now I'm kicking myself . I know the minor chord shapes, but I seem to recall he was using perhaps just 2 or maybe 3 strings??
Any pointers appreciated from those in my class and/or anyone else on making your own intros & endings in Taropatch and/or Open D.
Aloha,
Jeri
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Nahenahe |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 08/22/2005 : 10:02:51 PM
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Glad you mentioned this Jeri...
What song did he use as an example?
"Napili", or "Londonderry Aire"??
And unfortunately, I DON"T have specific notes on that session...wonder if Lawrence or someone else had their mini-discs recorders on?
I did try to absorb...but it's an icy slope.
Here's my fuzzy feedback...mostly just an impression...
The infinite options are up to the arranger/player's taste, (for better or for worse)...Minor was just ONE possibility...
but say your piece is in G major...instead of giving away the entire melody....set up a little mystery and curiosity about what is about to happen...and delay the obvious, or perhaps just give small hints of the melody to come.
I believe he mentioned the parallel minor as one option....
(In G major, it is g minor)...use g minor shapes for that, but the 4 and 5 chords (could be major OR minor...
but probably use D7--the same as in Major...
You can use open and closed positions to create scales...but the exact patterns vary from Major, as you go up or down the neck...
In minor there's more possibilities...because of the 3 different types of minor scales...(natural, harmonic and melodic --which has a different pattern for ascending and descending!)
Try the 6ths (1st and 3rd string, open/closed patterns) and then see if you can find some working possibilities adding the voice on the 2nd string.
But if you're find minors perplexing...start with natural (g, a, Bb, c, D, Eb , Fnatural, and home to g)...
for Harmonic raise the 7th scale degree--so F becomes F#.
Because of the raised F (#), your 5 chord shape will often remain a regular V7...(D7 in g minor--same as G major)
He may also have mentioned using the relative minor (in G major, it's e minor)...where you're chords don't change so much.
(But B7 and other "borrowed" chords may appear!).
I felt he wanted us to explore the infinite possibilites, but somehow manage to choose something tasteful!
So for any of us with limited taste...let the borrowing begin.
But No more Mr. Yada Yada theory bs. in music!
I wonder if besides someone with nice notes or a recording from that day, we might ask Ozzie for a short synopsis here on Taropatch, or at some workshop down the road.
(I wonder if he might hit the west coast this year?)
Other songwriters have talked on this in workshops...and besides the intros that old standards used--they were called the verse in my father's time!--these tended to be independent and unique from the heart of the songs--yet hopefully set up some expectation and interest/curiosity.
Now one songwriter claimed that when he and other songwriters get together for fun, a common thing was to play Beatle songs! And recommended them for studying intros, outros, thrift, and ways to write, or arrange.
The Beatles had some great intros...especially on ballads.
The intro on "If I fell" is like it's own mini-song..."If I fell in love with you, ...etc..till it modulates (a half step up--yet it sounds right ...and it lands on --what we now call-- a verse (If I give my heart...")
Indeed, that's an unusual one...but does emphasize the idea of leading into a song with a surprise that still makes sense!
I would love to hear more on the specifics offered that day with Ozzie...and I was there!
and I do love to borrow a few good ideas...
Still, alot of what Ozzie conveyed was encouraging "discovery" learning and choices by the player.
Maybe I should get my B.A. switched to a B.S.
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jmk
Lokahi
USA
115 Posts |
Posted - 08/23/2005 : 8:41:25 PM
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Hi Kapila Kane,
Mahalo nui loa for the excellent comments. You've given me ideas, so now I have homework & hopefully I'm on the road to 'discovery'.
Ozzie used the minor chord intro on Sanoe as well as Napili Chimes & he referred to it as a contemporary introduction. I remember he mentioned building tension that needs to be resolved & staying away from the #5 string.
I thought my MP3 recorder was getting all the great things Ozzie was sharing with us and I could sit back and relax & enjoy, but this was not the case. Maybe Lawrence had better luck? Or Cathe--how are your notes??
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Nahenahe |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 08/25/2005 : 01:07:18 AM
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Also, Ozzie's classes at the Ritz probably varied this year, since we had him all week...and he didn't have to focus on "just tabs".
In What key did he do "Sanoe"? He centers so heavily in taropatch, g-wahine and taro with dropped C, I would guess Taropatch, but no matta...should transfer without too much stress.
and I was gonna say he might have mentioned approaching intros with "rubato", or rhythmic freedom...but Sanoe (as done by Cyril) already has a very free sense of meter...so probably would not help contrast here...
Contrast is not always necessary of course..
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Remember, people are sometimes not active for short (or long periods...or may not read a specific post)...although Lawrence is usually keeping an eye on us!
So you may want to e-mail these patchers directly.
Looking at Hanson's transcripion of Cyril's "Sanoe", several COLORFUL and ambiguous things leap out...
The B diminished 7,
C# dim 7,
and a couple of Em (ii) chords...NOT pulling to the A7, but settling back to the D root...
these colorful, ambiguous chords could be game for LONG musical playing, exploring and EXTENDING ad nauseum.
A fully diminshed 7 chord has FOUR spellings and interpretations--each tone has potentially equal pull...
so here I may use a short phrase from the song...but land on a deceptive--different--chord, and see if that could eventually lead into the song.
Also there are really long extended V and V7 (A7, sus, A6, and such),
So maybe just some nice dreams on the V--and perhaps ITS unter-diminished So in D, the V7 is A7, and it's lower neighbor diminished 7 would be G# dim7 (g#, b, d, f natural...{or enharmonic equivelents (alternate spellings for the same chord...for wacked out theorists!)}
Sanoe has some capricious chord changes --movements that feel purily whimiscal and used for coloring effects...and diminished 7 chords can be strung together for what I would call NON-FUNCTIONAL chord movements...
Kinda lets you beam to another location on the same ship...intra-ship beaming is sometimes considered experimental and dangerous, but hey...it's music not rocket surgery.
Or do I mean brain science?
I don't believe I saw an Ozzie tab on "Sanoe"...was this just for his intro demonstation?
I forget.
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Lawrence
Ha`aha`a
USA
1597 Posts |
Posted - 08/25/2005 : 06:23:39 AM
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Mahope Kākou...
...El Lorenzo de Ondas Sonoras |
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jmk
Lokahi
USA
115 Posts |
Posted - 08/28/2005 : 1:04:51 PM
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Ozzie played the first few measures of Sanoe in Taropatch (the same tuning I'm using) just for demonstration. I listened to & looked at the chords for Cyril's Sanoe as presented by Hanson.
Mahalo for all the excellent information--this is such a great group! I will print this out & study. |
Nahenahe |
Edited by - jmk on 09/01/2005 9:19:48 PM |
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catheglass
Lokahi
USA
312 Posts |
Posted - 08/28/2005 : 6:25:41 PM
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Aloha Jeri:
Just saw your message, I'll fumble through whatever I have on the class and get back to ya. Hope all else is well, ou hui hou |
cathe |
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Kapila Kane
Ha`aha`a
USA
1051 Posts |
Posted - 09/01/2005 : 6:25:36 PM
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graasshopper...I mean
Lawrence, you are ready.
Congratulations.
Peace.
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