Arrangeur et Arrangement

nmchau
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Arrangeur et Arrangement

Postby nmchau » 18 Feb 2006 15:17


nmchau
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Postby nmchau » 28 Nov 2006 20:24

Last edited by nmchau on 06 Jan 2007 13:19, edited 1 time in total.


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Postby nmchau » 28 Nov 2006 20:47

Introduction of a song with F6 chord

http://www.playpianotips.com/F6PlayerDemo.html

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Chord progression improvisation

Postby nmchau » 23 Dec 2006 16:03

Chord progression improvisation



We will show you how to improvise using the chord progression
I-vi-IV-V in this newsletter. To find out more about the
technique of improvisation, click the following:

http://www.playpianotips.com/video/chor ... player.swf

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Legato Playing

Postby nmchau » 05 Jan 2007 21:45


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ending

Postby nmchau » 09 Jan 2007 22:30


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Postby nmchau » 28 May 2007 08:59

kho^ng no'i la` melody sai." Chi? tru*` mo^.t tru*o*`ng ho*.p ma` to^i co' the^? nghi~ ddu*o*.c vu*a no'i tre^n: khi note cuo^'i (cadence) chi'nh cua melody na(m o*? trong quang 7 thu*', qua~ng 11, quang 9 thu*', hay qua~ng 3 thu*' (minor 7th, 11th , minor 9th, minor 3rd) cu?a a^m giai tru*o*?ng (major scale). Example, Cadence in Dmaj scale, if the melodic note is ended at C natural (instead of C# - major7th degree), it's a no-no in a tonal system (well, except in blues form). Dmajor scale does not contain C natural, D dominant scale does.
To^i xin ke^ khai nhu*~ng ca'ch soa.n
hoa` a^m ma` to^i dda~ ddu*o*.c nhu*~ng ngu*o*`i nha.c si~ ddi tru*o*'c
nha('c dde^'n dde^? bie^'t chu'ng ta dda~ ba`n lua^.n ve^` hoa` a^m trong
ca'ch na`o ma` mi`nh la.i cho la` melody quan trong hon hoac hoa` am quan
trong hon.

Phu*o*ng pha'p 1: Sa'ng ta'c gio`ng nha.c chi'nh ro^`i sau ddo':
a Cha^'m hoa(.c kho^ng cha^'m tie^'n tri`nh ho*.p a^m (chord progression)
b) Vie^'t gio`ng bass o*? du*o*'i ......xin dde^? y' la` ---> (a cu~ng co'
the^? la`m sau b)
c) Ddie^`n va`o nhu*~ng gio.ng giu*~a (fill in the voices)

Phu*o*ng pha'p 2: Sa'ng ta'c gio`ng nhac chi'nh ro^`i sau ddo':
a) Cha^'m tie^'n tri`nh ho*.p a^m
b) La^'y note melody ddu*o*.c du`ng la`m top note ro^`i ddie^`n theo
thu*' tu*. nhu*~ng gio.ng tu*` tre^n xuo^'ng du*o*'i. loa.i Voicing ddo'ng
hay mo*? na`o thi` tuy` theo quye^'t ddi.nh cu?a m`inh.
Note: Phuong pha'p na`y dduoc du`ng kha' pho^? tho^ng khi vie^'t hoa` a^m cho
jazz Big Band.

Phu*o*ng pha'p 3: Vie^'t tie^'n tri`nh ho*.p a^m tru*o*'c ro^`i sau ddo':
a) Xa^y do`ng nhac (ddo*n ddie^.u) melody chi'nh du*.a theo tie^'n tri`nh
ho*.p a^m co' sa(~n.
b) A'p du.ng phuong pha'p1(a,b) hoa(.c phuong phap 2(b)

Phu*o*ng pha'p 4: Vie^'t gio`ng nha.c chi'nh (melody) va` hoa` a^m (harmony)
cu`ng mo^.t lu'c (simultaneously, vertically and horizontally).
NOTE: dda^y la` phu*o*ng pha'p kho' nha^'t.. Muo^'n sa'ng ta'c theo lo^'i
na`y ca^`n pha?i ta^.p kho^ng du`ng to*'i nha.c cu. ma` trong dda^`u mi`nh
nghe ddu*o*.c a^m thanh cua? "shape" <-- combination of tone colors
(succession of chords) va` tie^'n tri`nh tha`nh co^ng cua? shape (succession
of chord progressions). Dda`n chi? du`ng trong nhu*~ng bu*o*'c dda^`u ta^.p
nghe shape (ear training) va` sau ddo' chi? du`ng dde^? kie^?m chu*'ng
nhu*~ng gi` mi`nh dda~ vie^'t ra.

TNS


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