Post your FINAL Compositions here!
Added 2025-02-11 20:29:01 +0000 UTCThis is where you'll post your final compositions for week 6's modal mixture class. The goal is to write a piece that includes all 12 notes, and also features two tonal centers (as described in week 6's lesson). The deadline to submit is Tuesday Feb 18th.
I'm almost done with the rhythm tracks for my song, and soon I'll be doing leads. Afterwards, I'll make an entire rundown of the track and how I was thinking of things to create it, and post that on the 18th. Then we'll do one final track review of everyone's songs.
Speaking of which, I STILL haven't reviewed your week 5 music! I will remedy that soon and I apologize for taking so long!
Comments
Hey Eric thanks for being a part of this :) It was great having you in "class" and I hope see you in the next one!
Jake Lizzio
2025-02-25 01:40:43 +0000 UTCGREAT WORK PAUL, I have more to say on this but I'm going to drop this link here so I don't forget. This is a track I produced for a student of mine (who's name was also Paul lol) and you guys have a similar vibe that I really dig!
Jake Lizzio
2025-02-25 01:22:07 +0000 UTCThanks, bud! 😉😁👍
Jay Goemmer
2025-02-20 02:01:15 +0000 UTCReally cool work, Jay!
MindStorM
2025-02-19 23:04:54 +0000 UTCThank you!
Aaron Shemon
2025-02-19 17:54:24 +0000 UTCBro that is a vibe! I could keep that on repeat for a while. Well done!
MindStorM
2025-02-19 16:22:55 +0000 UTCCool stuff, Scott! I listened before reading your description, and when the distorted guitar came in palm muting before the vocals I was like “yeeeeeessss” 👌🏻 really cool build up and structure!
MindStorM
2025-02-19 16:18:22 +0000 UTCI finally had some time to get this down. The Cons, all rhythm parts, guitar parts, etc. are my first time though, timing is bad, performance is ok, rhythm parts could be improved. Massive pro.... I composed everything except the end of the bridge turnaround in my head! I heard all the harmonies and wrote them in my notes app over the past few days, so recording was just taking that and putting in down. Thank you so much to Jake for these lessons (and all other lessons, books) it's unreal to be able to do this! My vision was something like a Steve Vai song/solo. Intro / Verse is D Lydian, I envision a soaring prog lead. Chorus is a DMixolydian, thinking of a more rock type lead. Post-Chorus uses the diatonic m6 while borrowing the b6 and b7 from parallel minor. Bridge is a key change to half time space rock A Dorian, with a Mario Cadence leading back to the Chorus again. Again I apologize for the sloppy playing, if I get a chance before Jake reviews I'd like to clean it up and maybe get the core of a melody in. Either way, what a fantastic 6 weeks of learning and composing! https://drive.google.com/file/d/1LbOBkqtwh0G-02jkgg-xDjbWCzfa4L-E/view?usp=sharing
Aaron Shemon
2025-02-19 02:36:34 +0000 UTCHi Jake - thanks again for offering this 6 week class for free to us on Patreon. It's been a lot of fun and a lot of challenge for sure. I won't be able to submit a final piece this week due to a few reasons... work/wife/kids balance plus my limited slippery grasp of music theory. I'm really grateful you and others are so welcoming and supportive during the class sessions and in the Patreon/Discord chats. I hope to continue studying and practicing the material you presented on my own. The video and presentation materials are invaluable!!
Eric Kirwan
2025-02-18 22:14:05 +0000 UTCThank you! And yes absolutely. Especially when you’re trying to connect keys that are difficult to smoothly connect!
MindStorM
2025-02-18 16:51:13 +0000 UTCHope I'm not too late. After toying around with a completely different idea for better part of the last week, I called an 11th hour audible and the result is my submission below. I had hoped to get lyrics/vocals in here (kinda bland without any, imo) , but except for the random singing at the end, I obviously did not. I plan to flesh it out more in the future - right now it is a bit rough in terms of production and performance. Song is primarily in C major, with a modulation to C# major. Anyways, analysis below: https://www.dropbox.com/scl/fi/75j34rde4fcwgutj388n3/Signals-Week-6-Project.mp3?rlkey=wklza482n1q3m1mqr5a2l2exu&st=82803cl1&dl=0 Intro (This what bass guitar is playing x2). C - Bb - A - Ab Initially I jumped straight into the verse, but thought it was nice to introduce the idea of ending a phrase on the Ab, as it comes back later on. Part A (repeat x4): C - Am - Ab - G I - vi - bVI - V In my head, I'm borrowing the bVI from aeolian. Part B (repeat x2): F - Fm - C IV - iv - I Again, in my head borrowing iv from aeolian. Part C (repeat x4): Bb - F - C bVII - IV - I Anytime I have I + bVII in the mix, I think mixolydian. Bridge (i.e. intro x 2): C - Bb - A - Ab Build to Chorus: 2 bars of Ab - tonicizing the C#. Warning: random singing inbound. Chorus (Numerals reference C# tonic. repeat x2): C# - E - F# - G# - C# - E - B - C# I - bIII - IV - V - I - bIII - bVII - I Billy Shears Cadence to take us back to C major: G# - A# - C I ended it there as I ran out of time, but would probably go back to the C-major part and work through all parts again in a more fleshed-out song. Anyways, that's it. Cheers.
Scott
2025-02-18 15:58:17 +0000 UTCI like it, the transitions were especially well done. You can really feel the movement to another tonal center in a way that grabs your attention without feeling jarring, that's cool stuff!
ExcellentHummingbird
2025-02-18 12:18:02 +0000 UTCLove it, and great playing as usual! I'm also a huge fan of the diminished chords, they're such a great tool and you know how to use them well. :)
ExcellentHummingbird
2025-02-18 12:11:15 +0000 UTCGreat stuff, and agreed on the motif being cool! The key changes also work really well imo, moving around in 5ths is just really nice. (D to A, F to C)
ExcellentHummingbird
2025-02-18 12:03:34 +0000 UTCReally cool and super fitting for the theme. Absolutely reminds me of the kind of music I listened to back in my skateboarding days. :D
ExcellentHummingbird
2025-02-18 11:56:55 +0000 UTCThe important thing is you challenged yourself and made a submission! I think it sounds super cool, and I dig the kind of salsa vibe!!
MindStorM
2025-02-18 01:31:04 +0000 UTCHi all, wow, I'm totally stoked by the other submissions for week 6 so far. Obviously I'm a bit frightened whether my little contribution can even remotely hold up to that. https://www.dropbox.com/scl/fi/c1xdhpggxtqljvqi1qcf2/FullChromaticScale-2TonalCenters_20250217_2330.mp3?rlkey=frm7yqfys840qb3g85v3kpj8i&dl=0 Given the time limit of 2min, the setting of two tonal centers (following the instructions from previous weeks I interpreted that as meaning we should also not exceed that) and the amount of time my plan was gonna take, I decided to not go for a full song but for some intro, chorus and verse. I do have an idea of how I would bring this to a full song with a proper ending (if I can motivate myself). Also there is a ton of things I'd like to improve production-wise. My piece is mostly in A harmonic minor and Emajor with some non-diatonic chords sprinkled in. Trying to stay with two tonal centers, I looked for combinations that, on the one hand, would mostly cover the full chromatic scale and, on the other, not be too different so modulating between them would be a little less awkward. Conveniently, the E major triad is diatonic in A harmonic minor. So here my chords : Intro: Am CmajMaj7 F Dm7 E+ ChorusA: Am F E Dm Am F E Am G C Bb A F E Dm Am F E Am Transition: F Verse: E G# A E F#m7 B7 G# C#m A E D E A E G# C#m E7 A E C#m F#m7 B7 E Transition: E7 ChorusB: Am F E Dm Am F E Am G C Bb A F E Am G F Dm7 E7 a single A note Transition: E7(add #9) Chorus A (fade-out) If I made no mistake then the used chords, together with the melody lines, should hit all 12 notes at least once. Like everybody else, I have to give a big thanks to Jake for this deep dive. This amount of new info will give me months of practice to fully grasp and actually have in my toolbox.
Lionel Pöffel
2025-02-18 00:42:00 +0000 UTCI re-copied the link. Try again here, as well: https://www.dropbox.com/scl/fi/hjb4jxhmfl555a4ljuhym/Week-6-C-Aeolian-A-Lydian-Feb-2025.mp3?rlkey=janzhw33w944zcqkffuvq8j9c&st=a5e2i1qx&dl=0
Jay Goemmer
2025-02-17 19:50:47 +0000 UTCThanks! The only thinking behind it was to highlight the raised 7 for the major V and land on the bII at the end - then fill out all the rest with Angus Young licks!
Paul T
2025-02-17 19:10:52 +0000 UTCThank you, Paul!
MindStorM
2025-02-17 18:55:38 +0000 UTCGreat guitar tones once again!
Paul T
2025-02-17 18:53:34 +0000 UTCI appreciate it friend!!
MindStorM
2025-02-17 17:44:56 +0000 UTCThat deserved a second listen! Nice work!
Sole Brick
2025-02-17 17:42:36 +0000 UTCAgreed with Paul, no problems with the drums! That was really cool. I love the motif you keep coming back to as you go to different modes!
MindStorM
2025-02-17 17:27:22 +0000 UTCThat was awesome, Paul! That guitar solo was absolutely perfect for the song imo!
MindStorM
2025-02-17 17:21:41 +0000 UTCIt says it’s deleted bro when I try to click the link 😩
MindStorM
2025-02-17 17:18:20 +0000 UTCSICK! Vinnie Moore and Marty Friedman vibes with that unique Znernicus sound. Excellent work brother.
MindStorM
2025-02-17 17:16:46 +0000 UTCSuper smooth modulations! That’s the stuff I love. I love realizing all of a sudden “wait did we change keys/modes?”
MindStorM
2025-02-17 17:11:56 +0000 UTCAwesome work!! That climb starting at 2:07 was excellent followed by a perfect outro imo!
MindStorM
2025-02-17 17:07:56 +0000 UTCSorry for the late entry! It's been a super busy couple weeks. The criteria for the final project prompted me to continue working on a song idea I had from before. I hit all 12 notes but used three tonal centers. The intro/verses are in Em with the chorus in G, but I modulated to C minor for the solo to cover the other notes in between as opposed to stretching out E/Em. The chorus normally would go around twice, and I would do the rhythm to the solo twice before the arpeggios hit, but I wanted to stay within the time frame, so I apologize if it sounds a bit rushed. The versus/chorus/solo are all 4/4. The intro/outro alternates between 6/4 and 5/4. The chords are as follows: Intro is just picking Em9 and ends on an inverted Em and Em9. Verse rhythm: Em-D-Cmaj7 (E Aeolian) Em-D-Cmaj7-A (E Dorian brightness) Em-D-Cmaj7 (E Aeolian) Em-D-Cmaj7-D (E Aeolian) Chorus: G-Em7-C-D x2 (G Ionian) Then I alternate G and Gsus4 a few times to indicate a change is coming, then I use Ddim and Fdim to modulate to Cm. Then the progression goes: Cm-G#-A# x3 (C Aeolian) G5-Baug(no3) (C harmonic minor) Cm-G#-A# x3 (C Aeolian) Then I use Adim to B(6/4) and used the Eb diminished arpeggio to get back home to the Em9 outro I have learned SO much in this course and have met some really cool people. I'm gonna check out all these other submissions now. I look forward to the future in this Patreon/Discord. Thank you, Jake, and such inspiring work from everyone in this course! https://drive.google.com/file/d/11NZT4Q9DiGyugu6rXmS93GiVq_IQ0go1/view?usp=sharing
MindStorM
2025-02-17 06:29:21 +0000 UTCI honestly think the "that sounded nice" approach you mention is the best one - following where your ear wants to go next without thinking too much about the "why". But when you're stuck or you have a very specific idea you want to implement then having all these tools available is a lifesaver. Either way the result here is a very nice piece!
Paul T
2025-02-16 23:30:11 +0000 UTCDrums sound good to me, better than a lot of real drummers I've jammed with! ;) This motif is like a dark and sinister version of "the entertainer", kind of like a video game boss theme or something. Very cool!
Paul T
2025-02-16 23:17:27 +0000 UTCThanks! Nobody sees the picardy third coming until it's too late!
Paul T
2025-02-16 23:11:15 +0000 UTCReally like that Paul! You crammed a helluva lot in less than 3 mins! And a very unexpected ending. impressive.
Sole Brick
2025-02-16 20:09:23 +0000 UTCOne word: EPIC! Some of it reminded me of Marty Friedman. Tell you, find yourself a marketing wizard and you're made.
Sole Brick
2025-02-16 19:56:42 +0000 UTCWell, I’m not gonna lie, I found this a little hard. Please excuse the drums. They are my downfall. I found what I could and spliced them together best I know how right now. (Drums is definitely something I want to work on after this project.) I started off with the idea of using a motif I’d come up with in Mixolydian b6 - I’m getting a little addicted to this scale of recent, thanks to Jake! I wanted to move this to different modes/scales. I started with A Mixo b6 then moved to F Lydian as this moved nicely from the Dm. I was liking this. Then I thought this sounds like a nice change up so it needs a different key at the beginning. I was looking to get an overall feel of Dm. So a D Dorian seemed to fit. I went with power chords for the most, thinking I could have a bit of flexibility with scales. I’m not sure I really got the tonal centre change although the Mixo b6 to Lydian i thought changed things up a bit. Also not sure that I got all 12 notes in. So possibly an assignment fail all round! But hey ho. I’m really not good with the theory but I think I’ve learned some stuff and this has really given me a boost to write more stuff and get better at it. (P.S. I upped my Patreon subscription too, because, well, (and not to sound like a L'Oreal advert), you're worth it!) D Dorian Power Chords D | D | B | B | G | F | E x 2 D | D | B | B | G | A A Mixolydian b6 A | G | Dm x 4 F Lydian F | G x2 C Melodic Minor D | B(b5) | G | F| E x3 G(#11) | Edim | G(#11) | Edim A A7 Dm https://drive.google.com/file/d/1oH4qG1W0bPVvlAsdq_k0pymYwJDuZLLB/view?usp=sharing
Sole Brick
2025-02-16 19:50:03 +0000 UTCLyrics: "See What Sticks" You’ve got your opinion It’s not my ambition To half-ass my way through the paths that I take You think that I’m lying But god knows I’m trying To prove to myself that it’s not a mistake Gonna break out every trick Now wait and see what sticks What if I fall (get a grip, man!) Mess on the wall What if I fail Everybody’s watching me Expecting total mastery If I had a penny If I had a penny If I had a penny For everything I’ve tried I’d be a millionaire I’d be a millionaire What if I fall (get a grip, man!) Mess on the wall What if I fail Everybody’s watching me Expecting total mastery Now watch and see oh watch and see Maybe I’ll hit the mark this time
Paul T
2025-02-16 18:02:47 +0000 UTCOkay here goes… I saw this final prompt as “write a song” so that’s what I went ahead and did. This is a little tribute to some of my favourite punk and hardcore bands although that did make it kind of difficult to incorporate some of these concepts without leaving the genre and wandering off to prog rock land. Hopefully with a little more time I can add another verse and iron out the kinks a little more. N.B. I am absolutely NOT a lead singer but that doesn’t stop me from trying! I layered a load of harmonies to disguise this fact the best I could…! The song is about a few things combined - partly my ambition to learn to land a kickflip for the first time as a guy in his mid-30s (midlife crisis of the punk rock kind) and partly the pressure of expectation and/or the fear of making a fool of yourself and all the massive amounts of hard work that happens behind closed doors to become “talented”. Two closely related themes! The tonality is mostly various flavours of Cm except for the bridge section which dips into Eb, the relative major) https://www.dropbox.com/scl/fi/827byjrxodiuf8han6qtu/Modal-Mixture-Week-6.mp3?rlkey=ibrucc5okd5b1tutn4i16fuzm&st=azl8t2ux&dl=0 [Intro] (standard minor stuff with a major V) Csus2 Cm G Ab Csus2 Cm G Ab Fm Csus2 Cm G Ab Eb G Cm [Verse] (there’s a major IV in there but blink and you’ll miss it!) Cm F Ab G Cm F Ab G [Prechorus] (feat. a major II to check off the tritone) Eb Dsus4 D [Chorus] (Ab acts as a secondary dominant* to set up the tonal shift) *EDIT: Scratch that, this was my *intention* but of course it should be a Bb to be the V/bIII - somewhere along the line I must have changed my mind and used Ab instead. Csus2 Cm G Ab Csus2 Cm G Ab Fm Csus2 Cm G Ab Eb G Ab [Bridge] (Switch to relative major but also with a major III and a minor iv to accidentally become Radiohead) Eb G/B Ab/Eb Abm Eb Bb Ab Bb [Solo] (back into Cm and mostly pentatonics) Cm Bb/D Ab Bb Cm G/D Ab Eb Bb [Post solo transition thingy] (checking off the bII here) Db Db Db G [Chorus / Outro] (the only note left unaccounted for is the major 3rd so there’s only one thing for it - picardy 3rd ending!) Csus2 Cm G Ab Csus2 Cm G Ab Fm Csus2 Cm G Ab Eb G Ab Bb C
Paul T
2025-02-16 18:02:08 +0000 UTCScott, excellent catch! This is a prime example of wading into the middle of something and then losing track of where you are. 😱🤣 You're correct in identifying the G chord (bII) in the F# Dorian section as being borrowed from F# Phrygian, instead of F# Lydian, which would have been G# (II). The ii chord for F# Dorian would be G#m. Thanks for using your eagle eye! 🦅Cheers! 😁😎
Jay Goemmer
2025-02-12 23:51:26 +0000 UTCThanks, yea I started by composing the entire piece on piano, and then other keys were added at the end. Everything is played except for the drums.
Znernicus
2025-02-12 21:09:42 +0000 UTCNice, Jay. I'm trying to analyze these submissions as a learning exercise. To that end, is your "B" section actually borrowing from Phrygian rather than Lydian as "G" is the bII of F# (the major II could be borrowed from Lydian, but that would be a G#major in this case)?
Scott
2025-02-12 16:14:29 +0000 UTCNow that's a vibe, excellent as usual. Some really cool chord movements and melodies (especially the harmonized part)! Did you play the leads on the keys as well? Because those rock!
ExcellentHummingbird
2025-02-12 11:31:47 +0000 UTCReally cool, I especially liked how the smooth modulations and how seamless the borrowed chords were integrated!
ExcellentHummingbird
2025-02-12 11:22:01 +0000 UTCThe siren bend early on was great, too! ❤️👍 "I wanted to finish this course on a happy note. :)" Nicely done! 😎
Jay Goemmer
2025-02-12 05:45:14 +0000 UTC("oh, that sounded nice, where is it from?") Wonderful! 😉😁
Jay Goemmer
2025-02-12 05:41:38 +0000 UTCGORGEOUS! 🤘😁😎
Jay Goemmer
2025-02-12 05:39:10 +0000 UTCModal Mixture demo Week 6 (Final Project) "A" Section – 120 bpm* C# Aeolian (A Lydian) | C#m | / | / | / | C#madd9 |/ | / | C#m | i | A | B | C#m | D#dim | C#m | / | bVI bVII i iidim (I II iii ivdim) "B" Section – 130 bpm** F# Dorian/Phrygian | F#min | / | (Transition) | F#min | / | B | / | F#min | / | B | / | | C#m | / | B | / | G | / | E | / | / | i IV i IV v IV bII bVII "C" Section (Tonal shift) C Ionian/Lydian/Mixolydian | C | G | D | Bb | | C | G | D | F | / | / | I V II bVII I V II IV "D" Section – 127 bpm* (Bb Lydian) | Bb | C | (4x) I II ... Ominous “Tag”*** | Bb | / | / | I _____ *The arrangements for the “A” and “D” sections don't sound like ANYTHING I've written before, so this Modal Mixture Masterclass has done an excellent job of giving me some extra compositional tools. Thank you all! **The D# in the Dorian section sounds “off” to me, since I've been listening to that section with a D instead (Aeolian tonal center) for a few days. We'll see what Jake says. ***My wife said about the “D” section, “It doesn't resolve,” so I added the ominous tag to bring the journey full circle. https://www.dropbox.com/scl/fi/hjb4jxhmfl555a4ljuhym/Week-6-C-Aeolian-A-Lydian-Feb-2025.mp3?rlkey=janzhw33w944zcqkffuvq8j9c&st=a5e2i1qx&dl=0
Jay Goemmer
2025-02-12 05:35:00 +0000 UTCWhat an entrance with that thunder & organ! haha I love it!
Znernicus
2025-02-12 00:54:02 +0000 UTCReally nice, at some points it gave me vibes a la "Into the Electric Castle".
John
2025-02-12 00:44:18 +0000 UTChttps://www.dropbox.com/scl/fi/pmq7mzktd7ur6956p290i/Lesson6Masterclass.mp3?rlkey=65340s8mgel1x9mor5inftm4c&st=8fivg0qg&dl=0 I decided to take the general concept of using the parallel minor of a relative major. In this case, C minor tonality dropping down to Ab, but then I was thinking about other modes so it ended up being C phrygian and Ab dorian. I tried to incorporate ideas from other weeks like a moment of melodic minor, borrowing b5, and playing a Lydian dominant scale over the IV chord. I'm most satisfied with the way the guitar melody harmonized on the 2nd chorus. Verse 1 Cm Db Cm Bbm (Cm Phrygian) Ab Gb F G (melodic minor to resolve) x2 Chorus 1 Cm Db Eb Ab G7 Cm Gbmaj7 Dbmaj7 Transition (iii and bIII of new key) Cm B x2 Verse 2 - Abm dorian tonality Abm - Db B x3 Emaj7 Eb (harmonic Minor) Abm - Db B x3 Amaj7 B Db x4 (Db lydian dominant) Chorus 2 (back to Cm phrygian) Cm Db Eb Ab G7 Cm Gb Db Cm Db Eb Ab G7 Cm Transition 2 B Ab Amaj7 B Outro (same as Verse 1) Cm Db Cm Bbm Ab Gb F G Cm Db Cm Bbm Ab Gb F Thank you so much for the course! I haven't been this motivated to write music in ages!
Znernicus
2025-02-12 00:30:32 +0000 UTCFirst, the heartfelt compliment. I was walking in a dark cave trying to feel with my hands which way to go, but now it's like I have a flashlight to slice my way through the utter darkness! Thank you very much Jake for this course!! I still need to put more time in studying because there's a ton of guessing and some cheating ("oh, that sounded nice, where is it from?"), but I think this is where churning a lot of exercises will help with. My little piece is more of a loop than a song, because I wasn't confident I'll be able to make it in a song without taking 6+ mins. I decided to make a "minimum viable beat" instead, so that I don't have an excuse to skip the exercise. I was very surprised that it all got crammed together in 20 bars without ending up sounding like total crap. I used a liberal amount of inversions to shape the chord motions up and down. --- The song begins in A minor. Bars 1-4: Amin - F/A - C - G/B - Amin - F/A - C - G/Β Bars 5-8: Amin - F#dim/Α (from A Dorian) - G - Bdim - Amin - F/A- Ε/Β - Bb (from A Phrygian) Bars 9-12: Amin - Fmin/Αb (“secondary “mixture from the parallel C minor) - C/G - G/B - Amin - F/A - C - E7/B (from A harmonic minor) At the end of the first chord, the melody (plucks) plays a quick Ab note that anticipates the Fmin/Ab chord. --- Then it does a relative modulation to C major. Bars 13-16: C7 - Dmin/A - F7 - G/B - C7/B - Dmin/A - F/A - G/B The use of 7ths were chosen to make the tonal center change more pronounced. Bars 17-20: Still in C but starting to slide back to A. C - Edim/Bb (bII from Phrygian) - F/A - G/B - C - D/A (from C Lydian) - F/A - G/B -- Then it loops from the start. I really liked how seamless that ended up being. Minimal production, I went for the piano house vibe. Bass & drums for the dance grove and plucks for the melody. The melody disappears when the 7ths come in. Google drive link: https://drive.google.com/file/d/11rvE-AKj4qOc8Msh5BjYJzTT33vmNBmA/view?usp=sharing
John
2025-02-11 23:54:24 +0000 UTCSweet!!
John
2025-02-11 23:40:58 +0000 UTCOh boy... where to begin? First, I want to thank Jake for being an awesome teacher! This class and your lessons in general have been such a huge help. When I first picked up my guitar a little over 2 years ago I knew absolutely nothing about music. I actually stumbled across your videos looking up what a power chord is. :) Back then I just wanted to play some Green Day songs or the Enter Sandman riff, and now I actually like music theory and composing. Speaking of which... My final piece is mostly in E Minor, borrowing from G Minor (relative Major mode's parallel Minor) and C# Minor (parallel Major mode's relative Minor). Melody wise it's lots of natural Minor, with bits and pieces of Harmonic and Melodic Minor, Major, Mixolydian b6, Hirajoshi, Pentatonic and whatever else I felt like. No holding back in the final week! I used mostly power chords but made sure to give harmonic context via the melody. The chords are all over the place, so writing them out in a sensible way is a bit of a challenge. I divided them into 7 parts, highlighting the modulations. I've also included some comments to explain my thoughts at certain points, messy as they may be. Sorry to anyone trying to parse this! :o https://drive.google.com/file/d/19oakVuyGZ0oaT9ImQoHxMOUcK3Wa9MyR/view?usp=sharing Intro: Em (lots of it) Part 1: Em -- Am -- D -- Em C -- F -- B -- Em (F borrowed from G Minor, using it as a Neapolitan chord while also foreshadowing the next section) Em -- D -- C -- B C - Em - B - G - B -- Em Part 2: (we're in G Minor/Bb Major now) F -- Bb -- Gm -- F Bb -- Cm -- Dm -- Bb Dm -- Gm -- Gm - Bb - Bb - Gm F#° - Eb° - C° - G - C - D - E - F#m (back home to E Minor via diminished chords and some E Major) Part 3: (Back to E Minor) Em -- D -- C -- B Em F Bb° B - E° Em - F#° - F#° -- G - Am - G - Am B -- Em (playing E Melodic Minor over the B to get a B9 sound) Part 4: (C# Minor/E Major) E -- F#m -- A -- G# C#m -- A -- B -- E C#m -- A -- B -- Em Part 5: (E Minor, using chromatic movement to build momentum) G -- F#m -- Em -- D - C# D - D# - Em Part 6: (Chromatic mediant modulation to get to G Minor) Em -- Gm -- A° -- D7 Gm - Am - Eb - Bb - B Part 7: (Beginning a bar earlier than expected to ramp up the intensity for the finale, alternating between E Minor and G Minor) Em -- F#° -- Gm -- A° Em -- F#° -- Gm -- Gm - G B - Em - B - Em Ending on an E Major, because it's nice. And because I wanted to finish this course on a happy note. :) Really excited to see what everyone else came up with, the submissions here have blown me away every week.
ExcellentHummingbird
2025-02-11 22:33:43 +0000 UTC
