Re: Chord progressions, Multi Lateral Improvisation (looping) (MilesDavis, Bitches Brew)

[Claude Voit <c.voit@vtx.ch>]

Not bad for a drummer !!

respect

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Claude

Rick Walker a écrit :
> Per wrote:
> "With the modern looping
> gear this has not to be, since loops can be instantly changed to
> evolve and also "pitched" on-the-fly into any chord progression. In
> essence the "background" chord structure can be instantly improvised
> as well as  melody lines."
> 
> I've thought about this a lot in my own music, too, Per.
> The reason why modality is a good analogy to repitching melodic loops on 
> the
> fly is that the intervallic relationships between the notes of the loop
> still remain identical when we pitch a loop differently  (of course, 
> this can
> change to with the judicious use of pitch shifting on just parts of the
> loop as one copies it to a new loop..........but, still it's very 
> difficult to pull off.
> 
> This produces a kind of 'virtual' modality if you don't mind the term.
> In other words,  you are left with a new harmony (or implied harmonic 
> relationship
> to the original loop).    Every note in the loop pitches to the same 
> intervallic modulation
> which ,  of course, will cause new dissonances to occur as a matter of 
> course.
> 
> This can produce really interesting results,  resulting in suspended 
> harmonies or chordal alterations.
> But there is still a kind of stasis about it...............albeit a more 
> complex stasis, because
> the relationship of the new loop to the original loop is parallel, 
> harmonically, even if it forces a new
> harmony by the juxtaposition.   Does this make sense?
> 
> I like it personally,  and , to be truthful,  it's forcing me to learn a 
> lot more about complex
> modern theory than I knew before I first started looping bass lines and 
> percussion in my early days.
> 
> 
> Per wrote:
> "In my praxis I prefer to call this Multi
> Lateral Improvisation. And I predict a revival for chord analysis
> based improvisation!"
> 
> Yes!!!!   Exactly.
> 
> You know,  this same thing is happening with a new instrument that I"m 
> in love with:
> 
>  I signed an endorsment with a company that makes a very simple 
> instrument called a strumstick.
> It is like a skinny walking dulcimer with only three strings and an 
> Ionian intevallic setup that allows for
> either a flat 7 or a natural 7.
> 
> This instrument was designed to allow anyone to play simple diatonic 
> major scale songs around a campfire without
> knowing anything about scales, really.    You just strum and play 
> melodies on the upper string where there are no 'wrong'  notes.
> 
> I'm loving this limitation because if I force the instrument into a I,  
> V, ii    tuning
> then my upper string is constrained to a Lydian scale  with really nice  
> 9th chords (that are ambiguous because they have no 3rd in them)
> 
> I've been trying out different capo settings on each of them with I, V, 
> I tunings (all the greek modes)      I, V, ii          I,  V,  bvii
> etc. and it forces all these beautiful (and frequently suspended or 
> dissonant)  triadic chord progressions.
> 
> It's just soo fun and cool sounding.       I have three diatonic ones in 
> different tunings and I just got a large chromatic one so I can play
> anything on it  (especially with a pinky slide on the upper string).
> 
> What's wonderful about it, is that I can hear things I really love for 
> composition.................and then I analyze them after the fact, so
> my harmonic knowledge is expanding rapidly.....................and yet, 
> they are as minimal as minimal can be.................my idea of
> a multi-instrumentlists'  good time...............lol
> 
>