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I edited the phrases Realivox Blue is singing and made it more human . . . :)

THOUGHTS

Realivox Blue (RealiTone) generally is "ballbark" human sounding, but by using the Melodyne Editor (Celemony) on her recorded Audio Track in Studio One Professional it's possible to make her sound oddly human in a surreal way . . .

The Melodyne Editor work took about three hours of experimenting, tinkering, arranging, producing, and audio engineering, which is fine with me because it's better and fits the song . . .

I focused on one complete phrase and then copied and pasted it to the various locations . . .

Originally, it was three repeats and slower, but it sounds better with a long "Do" and then faster, repeated four times rather than three times . . .

[NOTE: In the YouTube video, Studio One Professional is at the top; the Melodyne Editor is in the middle; and NOTION is at the bottom of the screen . . . ]

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One of the next steps is to focus on the instrumental parts where currently there is not a lot happening; and one strategy is to sing the slow and syrupy lyrics, which should be interesting . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Thu Feb 18, 2021 8:02 am
I got the T-RackS Leslie plug-in and used it on Realivox Blue's singing, and then sang the slow and syrupy "crooning" in the middle and end sections . . . :)

THOUGHTS

After listening to Realivox Blue's singing a few times, I decided it would be improved if I ran it through a Leslie rotating loudspeaker unit, so I got the T-RackS Leslie effects plug-in from IK Multimedia and applied it, which I think works nicely . . .

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Then I sang the slow and syrupy "crooning" phrases in the middle and end sections . . .

And I added more Metal Guitar, where one of the repeated phrases is reminiscent of "Blue Jay Way" (Beatles), although I'm not certain it's Lydian mode, but so what . . .

I will check the Lydian mode aspect later and correct it if necessary . . .

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There's some clipping, so I need to adjust the volume levels . . . :roll:

Mostly, I focused on adding the T-RackS Leslie, Metal Guitar phrases, and singing the slow and syrupy "crooning" . . .

It needs producing and audio engineering, which I will do next . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Thu Feb 18, 2021 8:50 am
There were a lot of hidden tracks that should have been muted, so I cleaned it up . . . :)

THOUGHTS

While I was creating buses and doing submixes, I hid a lot of tracks and forgot about them; so in the previous version there were at least three copy tracks for all the instruments, plus the original Instrument Tracks and Bus Submixes, which was too much stuff . . .

Cleaning it up took several hours, and now there are Audio Tracks for the instruments but no Bus Submixes . . .

There were clicks in the Höfner Beatle Bass, so I replaced it with a Vox Bass Synthesizer from SampleTank 3 (IK Multimedia) . . .

[NOTE: It's not a VOX bass. In this context, "Vox" is used to describe a synthesizer bass that has a "voice-like" tonality, hence "Vox" . . . ]

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It needs more work, but it's coming along . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Thu Feb 18, 2021 7:12 pm
I did more arranging, composing, producing, and audio-engineering . . . :)

THOUGHTS

The second "slow and syrupy" crooning section was too early, so I moved it to the correct starting measure . . .

I adjusted some of the instrument levels and added more Metal Guitar embellishments . . .

It's coming along nicely and is beginning to sound like a proper song, albeit a simple and Stupid song . . . :+1

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For reference, the black blobs in the Realivox Blue (RealiTone) singing are the original singing, but I modified it with the Melodyne Editor (Celemony), so the modified singing is represented by the light blue sequencer or piano roll stripes, as shown in the following image . . .

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Realivox Blue singing after editing with Melodyne Editor

The plan is to focus on embellishments for a while--nothing fancy but some interesting "in-and-out" bits . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Fri Feb 19, 2021 8:23 pm
I added some stuttering using my custom "Elvis Stutter" and Stutter Edit 1 . . . :)

THOUGHTS

In this version, I did some vocal embellishing with a combination of my custom "Elvis Stutter" via Stutter Edit 1 (iZotope) and some simple copying and pasting of words and phrases to create simple echoes . . .

And I added more Metal Guitar . . .

[NOTE: For reference, Stutter Edit 1 is a different type of effects plug-in. The effects plug-in goes on an Audio Track where you copy the audio clips you want be stuttered. In NOTION, you create an External MIDI track and this is what you send to the Studio One Instrument Track that has the Stutter Edit 1 instrument. There's a Stutter Edit 1 instrument, but there also is a Stutter Edit 1 effects plug-in. Sending External MIDI notes to the Stutter Edit 1 instrument triggers the Stutter Edit 1 effects plug-in to perform the selected stutter. The user guide has instructions for doing it in Studio One Professional, and I have used it before; so it only took a few minutes to remember how to do it. You might imagine that I understand everything about Stutter Edit 1--and perhaps my unconscious mind does--but mostly I tinker with the buttons and parameters until it sounds good. I use Stutter Edit 1, because Stutter Edit 2 doesn't run on the Mac Pro (Early 2008) and macOS El Capitan (10.11.6) here in the sound isolation studio. It's all too much stuff to keep it in my conscious mind, but so what . . . :ugeek: ]

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Surf's custom "Elvis Stutter" preset for Stutter Edit 1 (iZotope)

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One of the new techniques I discovered while doing these vocal embellishments is that I can create custom, simple echoes by copying and pasting parts of audio clips that I "slice" using the Studio One Professional Split Tool . . .

I knew about doing this with the Melodyne Editor (Celemony), but it hadn't occurred to me that it also works in Studio One Professional by copying and pasting small-duratioin audio clips created by slicing, which is done in Studio One Professional by editing an audio clip using the "Split Tool" . . .

Doing it in the Melodyne Editor provides more flexibility and precision, but simple copying and pasting of portions of audio clips on Audio Tracks in Studio One Professional works nicely . . .

There are two instrumental breaks, one each before the "slow and syrupy" crooning, and I am pondering the idea of adding some Latin percussion, mostly because it looks to make zero sense and to be a bit absurd . . .

The vocal embellishments add a "Beastie Boys" flavor to the song, which in turn suggests adding Cyclop (Sugar Bytes) to the instrumental breaks along with Latin percussion . . .

The overall level of stupidity is increasing geometrically . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
User avatar
by Surf.Whammy on Tue Feb 23, 2021 3:18 am
I enhanced the custom echoes and stutters and added a siren and Cyclop (Sugar Bytes) . . . :)

THOUGHTS

After pondering everything, I decided that the "eat me, beat me" lyric was a bit obnoxious; so I deleted it and replaced it with a measure or two of Cyclop (Sugar Bytes) doing wobble bass . . .

Yet, I left the "spank my underpants" lyric, since I write songs about underpants, which is fabulous . . .

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Fabulous! :P

I added more custom echoes--in particular a set of three custom echoes panned to different locations . . .

[NOTE: This is best enjoyed when listening with studio quality headphones like SONY MDR-7506 headphones (a personal favorite), because the various custom echoes have different panning locations (far-left, top-center, far-right) . . . ]

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Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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by Surf.Whammy on Thu Feb 25, 2021 9:38 am
In this version, I focused on fine-tuning the vocal embellishments and added more Cyclop (Sugar Bytes) wobble bass . . . :)

THOUGHTS

The song is coming along nicely, and I made some adjustments to the vocal embellishments for timing, panning sequence balance, and echoes . . .

I like the Cyclop wobble bass, so I added more of it--not a lot but enough to showcase it, so to speak . . .

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PRODUCING EMBELLISHMENTS

After listening with studio quality headphones (SONY MDR-7506) to hit songs over-and-over more times than I can count, I realized that producers add virtual festivals of bits of just about everything but always "in-and-out" rapidly ,so it's there if you listen diligently but otherwise you don't notice it in an immediately conscious way . . .

There are different hypotheses on the reasons this is done, but my favorite hypothesis is that it's a matter of capturing and sustaining the listener's attention, which as I have explained in other posts is a matter of the so-called "Youth of Today" having limited attention spans, which historically is perhaps the only consistent fact about this group of listeners . . .

For example, consider the hand clapping in "I Want To Hold Your Hand" (Beatles), and ask yourself, "Why did George Martin add hand-clapping to the song?". . .

[NOTE: This is the original 1963 monaural mix, which is the way most people heard the song on AM radio for the first time . . . ]

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[NOTE: This is the remastered 2015 stereo version, which makes it easier to hear the instruments and singing, but it's not the way people listened to the song in 1963 . . . ]

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There were no hand-clapping embellishments when the Beatles performed the song live, so this strongly suggests the hand-clapping was a producing thing . . .

[NOTE: Apparently, the idea of two Beatles singing harmony like the Everly Brothers was sufficiently unusual in 1963 that the sound reinforcement producers had to guess which one was "Elvis". When the Beatles performed the song on The Ed Sullivan Show, the audio engineer and producer thought it was Paul McCartney, but in this concert in Washington D. C., they thought it was John Lennon . . . :roll: ]

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Perhaps the best example of producing embellishments toward the dual goals (a) of capturing and sustaining the listener's attention relentlessly and (b) of making a song sound larger than life (or "big") is "Who Owns My Heart" (Miley Cyrus), which has so many producing embellishments by stellar producers Rock Mafia that I stopped counting when the count was around 150 or so . . .

Rock Mafia ~ Wikipedia

This is one of the songs I study; and the more I listen to it the more things I identify, which in some respects is as fascinating as it it mind-boggling . . .

Some of the embellishments are singing the starts and ends of words--which is done for clarity and enunciation--but there are custom echoes (simple and syrupy), background singing, stereo splits (top-center at times but then split with Haas Effect to far-left and far-right), as well as particular harmony backup singing reminiscent of Pink Floyd on their "Dark Side of the Moon" album, which I did not hear in an immediately conscious way until sometime after listening to the song over-and-over perhaps 100 times, mostly because I was focusing on other aspects of the song . . .

[NOTE: When you hear Miley's singing at far-left and far-right, this is done in part with the Haas Effect or a tiny bit of rapid digital delay which must be done because otherwise when something is far-left and far-right with both exactly the same at the same volume, it actually is top-center or monaural, if you prefer . . . ]

For reference, I am not exaggerating about counting at least 150 embellishments and other producing things, where in counting it's important to count everything including "ick, ick, ick", the perhaps subtle droning background humming, starts and ends of words overdubbed for clarity and enunciating, all the various phrases the female chorus and male chorus sing at various times, and so forth and so on . . .

Each thing counts, and there are a lot of things to count . . .

[NOTE: As with every song I reference in my posts, it's important to listen with studio quality headphones like SONY MDR-7506 (a personal favorite), which the the case even when it's a monaural mix from over half a century ago. Usually, I listen at high volume levels at least for a few hours, since some of the embellishments are not so easily heard at lower volume levels. The video is interesting, but it's a distraction when you are focused on the music; so listen to the music and focus on the music. I usually close my eyes, since this helps to focus on listening rather than watching--especially when the singer is running around underpants . . . ]

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WHAT'S NEXT

There's a good bit of effort here in the sound isolation studio focused on making songs unique, but this song is particularly intriguing, because it's more than just simple and Stupid . . .

"Magic Teepee Dance"?

What's that? :P

I composed the song and wrote the lyrics, and I don't know exactly what it is . . . :reading:

Most the time when a song is at this level of producing, I stop and then start a new song; but I might add more embellishments and random "sounds" for this song . . .

Lots of FUN! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
User avatar
by Surf.Whammy on Wed Mar 10, 2021 3:23 pm
Country Western songs are Simple and Stupid, for sure . . . :)

THOUGHTS

"Magic Teepee Dance" is coming along nicely, and I might add a few more embellishments, but now I am focused on a new Country Western song . . .

The background on this is that a few weeks ago I did a video tutorial about working interactively with NOTION and Studio One Professional in a ReWire session, where the example was adding some new instrumental phrases to sections of the song where there mostly was nothing much happening . . .

I was doing everything in real-time on the fly, and at one point I lost track of where the "nothing" section was; and while scrolling along the timeline to find it, I remarked that "She was my everything, but now she's my nothing", which I thought was funny but later realized is a great line for a Country Western song done in the Stupid genre in a truly simple way . . .

A few days ago, I was listening to the audio of the 1965 Beatles concert in Atlanta, and a set of lyrics for the song appeared, which was interesting . . .

The next day a basic melody appeared--probably beamed into my mind by the Aliens From Outer Space--and today I recorded the singing after practicing it a few times and deciding on an initial set of vocal effects, some reverb and short echoes, where the key is that when singing it's better to have simple vocal effects, almost dry, because vast reverb and syrupy echoes make it difficult to focus on precise vocal timing . . .

Only the raw singing is recorded, so I can work on the vocal effects later; and I probably will run the singing through Melodyne (Celemony) to do some pitch correction, timing work, and so forth, including creating some custom echoes . . .

It's an early version of the song; so it's drums, electric bass, and a rhythm guitar playing simple, repetitive chords on the 1st beat of each measure; and the singing was recorded on the first take, so it's a bit primitive, but so what . . .

I used my custom "Simple and Stupid" templates for Studio One Professional and NOTION; and the recording session took about an hour, which is one of benefits of having custom user-defined templates for Studio One Professional and NOTION, as well as being skilled in copying and pasting . . .

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Lots of FUN! :)

P. S. I plan to "borrow" a few instrumentation, backup harmony, and arranging ideas form these songs, which is fabulous . . .

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Fabulous! :)

The Surf Whammys

Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
User avatar
by Surf.Whammy on Sat Mar 13, 2021 2:28 am
    A little bit of composing, arranging, producing, and audio engineering is helpful . . . :)

    THOUGHTS

    This is a Country Western song, which here in the sound isolation studio maps to Ferliss Nuberton making a cameo appearance with the lyrics and melody for the song but not so much in the way of rhythm guitar chords other than telling the Pretend Wrecking Crew to "Play an A Minor chord, but don't wear it out" . . .

    As usual, Ferliss is busy--has an appointment for a Brazilian--so sings the song one time, and says, "Add some chords and take care of everything", as he heads out the door . . . :P

    After a few hours of work, it now sounds like a proper song, although mostly with just the basic rhythm section and some lead guitar counterpoint . . .

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    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
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    by Surf.Whammy on Tue Mar 16, 2021 1:36 pm
    The Aliens From Outer Space beamed a Tremolo Pianolo part into my brain . . . :)

    THOUGHTS

    Chords appeared, and they are played by a Tremolo Pianolo from one of the legacy SampleTank instrument collections (IK Multimedia) . . .

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    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Wed Mar 17, 2021 2:17 pm
    Today, the Aliens From Outer Space beamed Violins into my mind . . . :)

    THOUGHTS

    I added Violins playing counterpoint and embellishments, and now the song is coming along nicely . . .

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    It's all about making Ferliss Nuberton sound good . . . :P

    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Thu Mar 18, 2021 7:36 pm
    I added some harmony notes and a glissando to the Violins . . . :)

    THOUGHTS

    I like the Violins; and after listening to the song several times, I added some harmony notes to a few measures of the Violins and added one glissando, which is midway in the second verse from the end of measure 41 to the beginning of measure 42 . . .

    On a related note, I think it should be obvious that I do not plan much of anything in advance and certainly had no idea about some of the recent orchestration, other than the remark about "borrowing" a few ideas from the Conway Twitty and Hank Williams songs, which for the former is the origin of the idea to add Tremolo Pianolo and Violins--except that it's not traditional Country Western style Piano and Fiddle, but so what . . .

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    I do everything primarily "by ear" but augmented with music theory and Joesph Schillinger's System of Musical Composition (SoMC), although ultimately I make decisions "by ear" . . .

    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Thu Mar 25, 2021 1:45 am
    I added a bit of Realivox Blue (RealiTone) singing counterpoint . . . :)

    THOUGHTS

    After sleeping all day for 12 hours, it occurred to me last night that a few, significatnt hit songs have a particularly annoying component . . .

    There's "Hound Dog" (Elvis Presley), "She Loves You" (Beatles), and a few others, where the latter repeats the annoying phrase "Yeah, Yeah, Yeah" and the former essentially refers to females as if they were dogs; and then there is "Billie Jean" (Michael Jackson) . . .

    "(I Can't Get No) Satisfaction" (Rolling Stones) and "Stupid Girl" (Garbage) are two more . . .

    [NOTE: I like the arranging, instrumenting, producing, and audio engineering on this song, as well as the performances, of course. In the Department of Cuurious Historical Music Information, the "ah" in this song is augmented in the same way the "and" is augmented in "Maybe" (Shangri-Las), perhaps as a shout-out to Shadow Morton, where if you listen carefully with studio quality headphones like SONY MDR-7506 headphones (a personal favorite) at high volume, you can hear the combination of a lead guitar string bend and Mary Weiss' singing "and" in the Shangri-Las song. It's possible that I am hearing things which are not there, but (a) it fits and (b) I use this technique in my songs when I want to accent or tag something . . . ]

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    [NOTE: On a related observation, how did Elvis Presley get the idea to do uvular trills on the "h" of "hound dog-uh"? Was it something he did intuitively with no idea what it was or why it made sense, or was it something the producer or one of The Jordanaires suggested and explained? . . . ]

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    FACT: Including annoying components in songs appears to be a pattern or a requirement . . .

    Consequently, I added some Realivox Blue singing "Yay,Yay, Yay" to introduce an annoying vocal component to the song, although Ferliss Nuberton by definition is an annoying Country Western singer . . . :P

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    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Sat Mar 27, 2021 5:05 am
    I added Orchestral Chimes and Cyclop wobbles . . . :)

    THOUGHTS

    The Orchestral Chimes are from EW ComposerCloud X, and the wobbles are done by Cyclop (Sugar Bytes) . . .

    I dlid some producing and audio engineering, as well . . .

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    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Sun Mar 28, 2021 5:25 am
    And now ladies and gentlemen, live on our stage the Country Western music sensation that's sweeping the nation: Mr. Ferliss Nuberton and the Fabulaires . . . :)

    THOUGHTS

    After saving nearly $300 last night shopping at Bolder Sounds, I added an Electric Sitar and moved the song to an even higher level of Stupid . . .

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    Lots of FUN! :)

    P. S. Bolder Sounds is having a 50-percent discount sale this weekend that ends at midnight Sunday March 28, 2021 to raise money for the victims of the terrorist attack in Boulder, Colorado and their survivors and families. . .

    Bolder Sounds

    Lots of fascinatingly unique scripted instruments and sampled-sound libraries, all highest quality, which is fabulous . . .

    Fabulous! :+1

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Wed Mar 31, 2021 2:31 pm
    I revised the Electric Sitar and added a bit of subtle pizzaz . . . :)

    THOUGHTS

    The Intro was too pretty, so I made the drums and Electric Sitar (Bolder Sounds) more macho . . .

    I added some one-note accents in a few places, as well . . .

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    At present, the instruments are all on Instrument Tracks, and this is getting too close to overloading the Mac Pro (Early 2008); so I need to record to Audio Tracks the audio generated by the Instrument Tracks and then to mute (or to remove) the Instrument Tracks and to start using the Audio Tracks, which lowers processing significantly and maps to more headroom . . .

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    Lots of FUN! :)

    P. S. To put the "by ear" aspects of this song into perspective, at present I do not know the names of the chords and mostly am of the opinion that the song might be in A Minor or C Major, although there is an occasional F#, which is puzzling but so what . . .

    If the Music Special Agents at the FBI called and said I have to provide a chord chart with generally accepted chord names, I think I am up to the task; but what are the odds of that happening in this galaxy? :P

    And why is nobody busting me for "borrowing" a bit of the "Miami Vice" theme song and modifying it--all unbeknownst to me in any conscious way, other than receiving real-time instructions beamed into my mind by the Aliens From Outer Space? :mrgreen:

    Since the unconscious mind ("id" in Freudian terminology) knows a lot more than most folks imagine, I suppose I cannot claim generally to have zero foreknowledge of the way the song is developing; but if so, then it was and perhaps continues to be entirely unconscious . . .

    Mostly, I listen to the current version over-and-over and then after a while it becomes obvious where more instrumentation or singing can be added . . .

    Music notation is the language I use to tell NOTION what to do, but the language is not running the show here in the sound isolation studio, which is fabulous . . .

    Fabulous! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Fri Apr 02, 2021 8:51 am
    "She Was My Everything" is coming along nicely and except for some producing, audio engineering, and perhaps a few more subtle notes or noises is complete; so I'm starting on a new totally Stupid song . . . :)

    THOUGHTS

    I was listening to iHeart FM radio a few days ago and heard an excellent rendition of "Rebel Yell" (Billy Idol) that has an exciting beat; so after pondering this a while, I decided to "borrow" the beat and a few other bits to create a new totally Stupid song . . .

    [NOTE: This might be the version I heard on iHeart FM radio . . . ]

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    At present, all that exists for the new, totally Stupid song are two ideas:

    (1) "Borrow" the drumkit rhythm pattern and a few other bits from "Rebel Yell" (Billy Idol)

    (2) Explore the lyrical absurdity of something along the lines of "I'm So Woke, I Socially Canceled Myself (And Now I Live In A Metal Cage)"

    If the Aliens From Outer Space beam me some lyrics, then the parody potential will be fantastic . . . :P

    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Fri Apr 02, 2021 1:24 pm
    I prototyped the rhythm section for the new, totally Stupid song . . . :)

    THOUGHTS

    I could play the rhythm section for "Rebel Yell" (Billy Idol) exactly like the record if I were doing it with real instruments, but transcribing it "by ear" to music notation is another matter; and when I do it this way, any resemblance to the "borrowed" song is entirely accidental . . . :P

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    After listening to the prototype rhythm section a few more times, I plan to make the chord scales more complex--instead of just 1-1-2-3 repeating, the idea is to add more chords but sequentially with the same number of measures for each chord, except the first chord which gets double measures . . .

    Another idea is to do a "Circle of Fifths" type of sequence or perhaps something based on the "Sleepwalk" (Santo & Johnny) chords, which the Beatles used with a modification for "This Boy" (swapping the Am for a D something, going upward instead of downward, which (a) might make sense only to me and (b) might not be the correct chords, but so what) . . . :reading:

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    It's {C, D, F, G} for my concept of "This Boy" rather than {C, Am, F, G} for "Sleepwalk", and it's entirely possible it's a different pattern--some of the chords are sevenths--but I like the concept {C, D, F, G}, if only for the electric bass part . . .

    IDENTIFYING RHYTHM GUITAR CHORD SEQUENCES "BY EAR"

    I came up with probably wrong set of chords for "This Boy" decades ago when my ability to identify chord patterns in real-time on the fly was not so stellar, perhaps because at the time my primary instrument was electric bass rather than electric guitar . . .

    And the Beatles' variation on what I call the "Sleepwalk" chords might be for a different song . . .

    The key bit of information is that the Beatles used {C, D, F, G} and different key signature variations, which at the time (1960s) was not standard, even though it made sense . . .

    The early-1960s "garage band" perspective was that there were two types of songs::

    (1) Songs with three chords, like "Louie Louie" (The Kingsmen)

    (2) Songs with four chords like "Sleepwalk" (Santo & Johnny)

    Songs probably had more than three or four chords, in which case they had seven chords, regardless of how many actual chords they had . . .

    The key words are "garage band", and in many respects it was pushing the envelope if everyone knew all seven possible chords . . . :P

    It took me quite a while to make sense of the chords for "Heat Wave" (Martha & The Vandellas), since except for the back-and-forth "rocking chords", everything is upside-down and backward, where for example the "walk-up" chord sequence is the reverse of the start of "Walk Don't Run" (The Ventures), and the three chords for the verse are the same as the ones for "Louie Louie", except they are upside-down (different key signature, but so what) . . .

    Image

    It's brilliant!

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    This is another one that has a fascinating chord pattern . . .

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    I have written about these six songs before, but they are important and in one variation or another are the chords for a lot of songs, so I write about them whenever I am focusing on a novel set of chords . . .

    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Sat Apr 03, 2021 4:07 am
    I completed the basic rhythm section and chord pattern . . . :)

    THOUGHTS

    Along the way, I added a few lead guitar phrases to provide some counterpoint, accents, and section demarcation . . .

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    The key is adding the scratchy backbeat rhythm guitar . . .

    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
    User avatar
    by Surf.Whammy on Sun Apr 04, 2021 9:29 am
    This morning the Aliens From Outer Space beamed me a deep and rich set of totally Stupid lyrics . . . :P

    THOUGHTS

    I need to make a few changes to the chord sequence for the verses; but as a teaser, these are some of the totally Stupid lyrics . . .

    "I'm so fabulous in my mind
    My watch tells Versace time

    On Monday I'm a boy
    On Tuesday I'm a girl
    On Wednesday, I'm a squirrel

    I called the police
    And reported myself
    For having fabulous thoughts
    Of nobody else

    I'm so woke
    I canceled myself
    Now I live
    In a metal cage
    And people feed me nuts"

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    Lots of FUN! :)

    The Surf Whammys

    Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!

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