John, I find your ideas interesting, tried it out, it seemed to work pretty well, then, I tried your ideas with changes: in the 2nd bar using double stop Eb instead of F7, and I like the tater's G Cm G in bars 15 and 25. I liked using double stops for the Eb chord where it appears, I used I & III, then I & V.
Then...just for interest, a mate of mine thinks - and I quote - "i am tempted to say that C min 7......COULD BE MAINTAINED right throughout the piece, because the tension caused by the occasional clash simply emphasises the dorian tonality.....simplistic?....maybe, but effective nevertheless...yeah....the accompaniment sustained and all in a minimum crotchet (not real sure what a crotchet is!) rhythm, done at high spots as an arpeggiando......" I tried her idea and it seemed to work too, and then I tried using Cm and Cm7 here and there and liked that as well. I see first hand how the chords really can change the mood and feel of a given tune. We have a few options now, hey? Linda On Oct 15, 9:53 pm, taurodont <[EMAIL PROTECTED]> wrote: > Howdy folks, > > First time poster here(former lurker lured out of the shadows). I've > been listening real intently to Tater's mando pickin' for the last > decade or so. I don't do the online lessons but have caught his > instructional skills at the last three Monroe camps. > > Thought I might take a stab at a chord arrangement for this here > Dorian Waltz. > The chords change EVERY measure in my arrangement. > > "A part-first time through" - Cm F7 Gm Bb Cm G7 Gm > > "A part-second time through" Cm F7 Gm Bb Fm G G7 > > "B part-starts at measure 11 on Tater's tab"- Cm F7 G7 Eb Gm Cm > G7 Bb G7 > Cm > G7 Eb Gm Cm F7 Bb G7 Cm > > Now whether this is a strictly Dorian tune could be debated, but who > cares, it has a nice creepy melody and weaves inbetween several minor > scales as is often the case. To find these chords I harmonized the C > Dorian scale for the majority of them. Where the melody strays from > the parent scale I tried to find a chord that fit (had some of the > melody notes in it). Feed back would be appreciated. > > Hey Perry, Did you remeber the Old Jericho Waltz? > > Great Website, John > > On Oct 14, 3:55 pm, Nelson <[EMAIL PROTECTED]> wrote: > > > Tater, > > > Do you have the original ABC text handy or the gif that the ABC > > translation tool created? I can't get to the large file from my > > current location. > > > I need some help, too. I've been looking at this, and the Bb > > signature doesn't make sense to me. The C Dorian scale is a natrual > > minor scale, making it the relative minor of Eb, not Bb. > > > What I am missing? > > > Thanks, > > Nelson > > > On Oct 13, 6:57 pm, mistertaterbug <[EMAIL PROTECTED]> wrote: > > > > Val, > > > I got the tune off a list of tunes in ABC format. If you go to the > > > link included, you'll notice it takes you to a website that has a > > > sizeable collection of 'collections' of tunes from all over the world > > > in ABC format. I think there is a list of ABC readers there for > > > download as well. Here's the link; > > > >http://www.walshaw.plus.com/abc/tunes.html > > > > If you look down about halfway through the list of "large collections" > > > you'll notice one by Richard Layton. I downloaded that file and split > > > it into groups of 1000 tunes to make it more manageable. I think that > > > the "???/C Dorian" tune is somewhere up between 4000 and 5000, though > > > I've scanned 3000 through 5000 some odd and have not found it. But I > > > know it was there. No really...<G> > > > > Tater > > > > On Oct 13, 6:51 am, Val Mindel <[EMAIL PROTECTED]> wrote: > > > > > I wish I were closer. I'd love to see it if you do write out an > > > > arrangement. In my thickness (I blame jetlag) when I posted I didn't > > > > realize this was the what you were referring to. Good luck. I continue > > > > to try to sort of ways to do the waltz but need to tackle the chords > > > > before I can get much further. Tater, where did you get this? val > > > > > On Oct 12, 8:12 pm, Linda <[EMAIL PROTECTED]> wrote: > > > > > > I have been looking at it ..using the piano, I find it easier to try > > > > > things that way as the melody and the chords can be tried all at once > > > > > quite easily. The ideas are still forming. I would enjoy a chance to > > > > > play C Dorian Waltz in ensemble, but would have to get Scottie to beam > > > > > me ..to the location, Tasmania would be just too far, to ask folks to > > > > > travel to. HA > > > > > I would need a travel grant... > > > > > I might be able to scare up some volunteers here for a Tassie effort, > > > > > but there are no mandolas here that I know of. > > > > > We could have regional play-off's ...though. Might take a while to > > > > > organise. > > > > > ljt > > > > > > On Oct 13, 10:36 am, mistertaterbug <[EMAIL PROTECTED]> wrote: > > > > > > > I might as well confess, I'm the one that threw this tune/quandry > > > > > > into > > > > > > Linda's lap. Val know's this one too. It's a tune I found in a long > > > > > > list of things on either Richard Robinson's site or the "Big List" > > > > > > of > > > > > > ABC tunes(about 15,000) and was listed simply as "??? > > > > > > Waltz/CDorian". > > > > > > The tune appears on the "Files" page. I threw a bunch of chords at > > > > > > it > > > > > > and overdid it something fierce, so just throw them all out and > > > > > > start > > > > > > from scratch...oh, and tell me what you come up with. <G> > > > > > > > Also, we've been talking about how nice it would be to have this > > > > > > tune > > > > > > and a few others played with harmony parts for second mandolin, > > > > > > mandola, cello, bass maybe. Any takers? > > > > > > Tater > > > > > > > On Oct 10, 12:03 am, Linda <[EMAIL PROTECTED]> wrote: > > > > > > > > Hi all, I have troubles finding the right chords to use for a > > > > > > > given > > > > > > > tune. So I start this thread for the selfish reason to see what > > > > > > > other folks might know or do re chord selection. I think most > > > > > > > folks > > > > > > > do know about the 12/bar blues, the three chord trick, etc. > > > > > > > > I gather, but am not sure, that if a tune is modal, it may be the > > > > > > > chord rules will or could be changed for different effect?? Maybe > > > > > > > in > > > > > > > the old days there were some standard rules for this? > > > > > > > > Some of you may understand or have something to share about what > > > > > > > you > > > > > > > do, how you do it or the theory behind your chord/double stop > > > > > > > selections, and usage. > > > > > > > > Deep, you seem to understand a lot of scales, maybe you have > > > > > > > something > > > > > > > to add? I gather dulcimer players come up against the modal > > > > > > > issues, > > > > > > > too. > > > > > > > > My current question is, to find chords that work for a tune in > > > > > > > Dorian > > > > > > > Mode, would it be based mainly around a two note drone rather > > > > > > > than a > > > > > > > three note chord, perhaps say, I & III, for two of the chords and > > > > > > > perhaps I & V for the third chord or some other scheme?- Hide > > > > > > > quoted text - > > > > - Show quoted text -- Hide quoted text - > > > - Show quoted text - --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "Taterbugmando" group. To post to this group, send email to [email protected] To unsubscribe from this group, send email to [EMAIL PROTECTED] For more options, visit this group at http://groups.google.com/group/taterbugmando?hl=en -~----------~----~----~----~------~----~------~--~---
