Practiical use of Variation execrcise
Im going to jump way ahead – Please look over past posts on the Varition exercise. There will be more that will fit in after the previous discussion and this one – but I thought I might illustrate one tiy example of how you can build a piece using both relative pitch and the variation exercise.
After looking over the written example and hearing the recorded example, you will be correct when you realize I am not a very accomplished Duduk player. With practice i did use it on the new CD, and will put a sample of that at the end called Snake Hair.
Occasionally I will record a rough sketch of a piece after I compose it just to make certian that the different sections fit together the way I hear them on the page as I write. This is a few bars in the middle of a new piece i will bring to the band as I write out a suite of middle eastern type material.
Here is a few bars of one section
This does not exactly match the rough recording. But it will be good enough for our purposes. For instance, the recording is in 6/4 and a different key, and “bigger” chords.
Just looking at the melody, you might recognize the variation exercise. There is no repet of the first parts, but you can see just one change in the melody. The chords change. This is where being able to hear the steps and the notes in chords really come into play.
With a very simple melody part, that starts changing gradually over time, we can make it sound alive and powerful just by changing the root of a chord, and changing the chords altogether when the melody repeats.
Here is me playing a Duduk that sounds a tad better, an exerpt from Somebody Else’s Nightmare cd Strength and Kindness, called Snake Hair