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stevie82

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Posts: 13
Reply with quote  #1 
Im playing over a simple C#-7 to F#7.

The cliche single line sequence is C# D# E F (F#)

What i am struggling to find is the possible connecting chords (in quarter notes) that could fit with these notes inside them. I dont want to be limited to the single note line if you know what i mean. I can imagine Mr Greene playing chords for each note.....

So what are my options here?

Hope my question makes sense.

Steve
kontiki

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Posts: 256
Reply with quote  #2 
hmmm, it would be nice to know the context, like what key is the whole thing in? does this II V progression go to a B minor or major, or somewhere else? and would you like to start and end on root inversions?

here are two possibilities based on contrary motion. They both have many possible variations (especially the 3rd chord of the 2nd example)  depending of course on the context (key, target chord etc..)

i hope it will display correctly.
E------------1  2-----------------------------------------2
B------4  5  2  2--------------------------2  4   5  6  4
G---6  6  4  2  1---another one-------4  1   5  4  3
D---6  4  6  1  2--------------------------2  2   4  3  2 
A---7  6  4  2  1--------------------------4  2            
E---------------------------------------------------4  3  2

      first example:   C#m/E  D#m7   C#m7  B9#11   F#9/A#

   second example:  C#m7  C#m9/B  Ab7#5  G7  F#6/7

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stevie82

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Posts: 13
Reply with quote  #3 
Thanks for the quick reply kontiki.

I should have included that it resolves to B major for 2 bars.  The C#- and the F#7 are a bar each, if that makes sense

This is the tail end of a tune i have been asked to solo over. Its actually a country shuffle style song. The single line just sounded a bit naked to my ears, and this is exactly the type of thing i was looking for. The more cliched the better!

How would one work this type of thing out for himself? Any pointers in way of Teds exercise sheets or other books?
kontiki

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Posts: 256
Reply with quote  #4 
I found another one (contrary motion) that i like, but it has only two chords, so 2 melody notes per chord:

chords:    C#m7/G#     G6/7      F#6/7
Soprano:  C#  D#        E  E#     F#

 

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stevie82

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Posts: 13
Reply with quote  #5 
Here is the rest of my line for context........

So after the last note F# it goes

F#     E      F#    D(bend up slightly) F# (low) G#  B.

Cliche or what!
kontiki

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Posts: 256
Reply with quote  #6 
is there going to be a bass player?  I found an ascending line for the  "F#     E      F#    D(bend up slightly) F# (low) G#  B"   but it might be too low if there's a bass player.

chords:    F#7         E9/G#      Adim    F#9/A#         Bmaj7

soprano:  F#  E      F#    D      F#       (low) G#        B.

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stevie82

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Posts: 13
Reply with quote  #7 
There is a bass player yes.
Also, when i say (low) i mean the F# an octave below the previous F#.

Thanks again for that one...

Can you direct to how i may work this out? 

Wouldnt it be great to just be able to record a little sound byte and upload it to this thread?
kontiki

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Posts: 256
Reply with quote  #8 
When i said low, i meant the bass notes of the chords. They will no doubt conflict with what the bass player is doing, and/or sound muddy.  

when you say record a sound byte, do you mean me or you?

As for working it out yourself, i'm thinking about where to direct you..

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stevie82

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Posts: 13
Reply with quote  #9 
Yeah, i meant for 2 people to communicate their ideas to each other on a forum. With a quick google search i came across something called RGhost which appears to host a file on a server, and you just link to it.  Ill try to do this and post my line to this thread.

stevie82

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Posts: 13
Reply with quote  #10 
http://rghost.net/4618834

This is a link to a wav i recorded quickly. Hopefully this works okay.
bishopdm

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Posts: 244
Reply with quote  #11 
You might try something simpler, since there will be a bass player.  For example, just a series of sixth intervals:

C#/E-D#/F#-E/G#-F/A-F#/A#

Then if you want a thicker sound, just fill in the interval with another pitch.  Perhaps the most obvious middle line would be:

B-B#-C#-D#-E





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David Bishop
Tucson, AZ
stevie82

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Posts: 13
Reply with quote  #12 
Bishopdm, thank you very much.

I was overcomplicating things.  I was hearing (but not able to play or find!) some sort of counterpoint harmony, but really and truly sixths is what he song requires. 

Im still open to suggestions on how to harmonize lines for myself though.....;-) 
bishopdm

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Posts: 244
Reply with quote  #13 
Happy to help, sir!  When you mentioned "country shuffle style" I thought something a little simpler would be just the ticket.  I hope it works out.

For something a bit more "Ted-like," kontiki had exactly the right idea:  harmonies derived from a bass line moving in contrary motion to the melody you were hearing.  For both simple harmonizations and more complex harmonizations, sometimes your best bet is just to set up a bass/melody framework and then fill in the middle voices as best you can.  There will usually be many different ways of doing so, and you don't necessarily need to "know what you're doing."  Use your ear and experiment!

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David Bishop
Tucson, AZ
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