Semi-tone Progressions and Your Recent Favourite Hare Soup
Soon I shall order a M-Audio Oxygen 49 for a few different reasons:
- I have no tangible instrument in Seminole.
- I am tired of figuring out melodies on the virtual keyboard, though it is, I admit, a useful tool.
- I don’t want to program every keyboard part of the songs I am working on. I’d like to actually play some of them, despite occasional (or even frequent) timing inaccuracies.
Ok. I have decided to work on Cycle after this entry has been done. Which part, you ask? Well, the second of the five parts I outlined yesterday, I reply. So let’s begin brainstorming, shall we? It begins with the f triplet ostinato. The electric piano ostinatos over this with an F major7 on beat one and a Bes 7 on beat two. High in the background are the keys playing a c, then a bes, then an a. We’ll see how that works. The electric piano continues its ostinato, but the bass moves down a half-step to e. Let’s let the keys part remain the same, as well.
When the f bass ostinato returns, the vocals begin with the melody I outlined yesterday. The second line of lyrics continue when the e ostinato appears. The third and final line (of verse one) sees the bass float down another semi-tone to ees but all else stay the same. The bass will traverse back to the e ostinato. Perhaps the whole thing repeats at that point. f e f e ees e. When King Lindorm by Guapo (a band whom everybody loves) completes its sonic manoeuvers in my ears, I shall map out this small but poignant idea in lilypond and listen to the results. I shall not, however, report back here this evening.
That is not being headstrong.
It is eloquent.