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BeneathEve.sky,Ralph

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AN SKY BENEAIH EVENING Ralph Towner clmT(9) V r z - - F , \- i ;, . l- * ' t ?#l; ::o]'?k, )' 6P?.4 o rt {sa '}A-e-&!rQ I ta-1n?\h clmT(9) Amaj+4(9) CfmT(9) AJnaj+4(9) Cl'r''l(9) Amaj+4(9) E'r,iFl s' tri) a.ti= = 7 B-c;yA ct?(+l;) ArmajT(+13) tun(9)/Cl C$m7(9) FlTsus4 AmajT+4(9) cltJl'l(9, A- @ Amaj'7+4(9) o ,[f@ Amaj+4(9) CfmT(9) ING AN BENEATH EVEN SKY Beneath an Evening Sky is comPosed for guitar and melody instrument lf the melody is played by anothergu
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  BENEAIHN EVENINGKY ?#l; ::o]'?k, l-*'tVr<z-- F,\- i;, )' 6P?.4ort {sa'}A-e-&!rQIta-1n?\h Ralph Towner clmT(9) clmT(9)CfmT(9)Cl'r''l(9)Amaj+4(9) AJnaj+4(9) Amaj+4(9)E'r,iFl s' tri) a.-ti= =  B-c;yA C$m7(9)FlTsus4 Amaj'7+4(9 ct?(+l;) AmajT+4(9) tun(9)/Cl cltJl'l(9, Amaj+4(9) ArmajT(+13) A- @ o ,[f@ CfmT(9)  BENEATHNEVENNG SKY BeneathanEvening Skyis comPosedforguitarand melodyinstrumentlf themelody isplayedby anotherguitarlst, t mustbePlayedanoctavehigherhanwritten.Play hePiece;swritten the first aimethrough.TheaccomPanimentcanbeplayedtogoodeffectbyusingpizzicatoechniquehe iirsttimethrough.and duringhe firsttime aroundhe solochorusby the melodynstrument.To accomplishthepizzicatotechnique,Placeheoutsideedge ofyou'right hand onall thestrings,directlynext totheguitarbridge.Pluckhe stringswithyourextended humb'usind theflestl and avoidingtheuse ofthe thumbnailasaPlectrumThe furtheryou placethe e-dgeofyourhand fromthebridge, thelesssustainedhe noteswill be Try releasingthedamper(edgeofyour hand) immediatelyafterthe stringispluckedsothat sele'tednotes wi]l conti;ueto ring.ThePizzkatocanhavemany variationsthisway and notbelimited to soundingonly asa short,stopPednote.ExPerimentwith the timingof therelease of the stoppedstringsas anorchestrationaldevice.The scale accidentalsarePlacednext to thechordformsThe melodiesyouimprovisewiththechordprogressionsdont have tobe tiedto theroot, or bassnote, of thechords_Asbefofe, thereis always ascale noteoccuPyingaline or aspace on the staff,and theya'eto beplayedas a naiuralunlesstheir lineor sPaces occupiedby an accidenral(*orb)'There s an exceptionn thistune,howevernamely,heAbmajT+I3+gchord_here sboth an A flat andan A naturalin thescalesource.The steP_wisecale becomesan eight_notescale in this situation.Outliningvarioustriads startingfromanypointin thescalesource canproduce interestingmelodicvariations.(SeeChordsand CorrespondingScalessection).The chordprogressionsnthis tunealso aPPlyasan exerciseorm for arPeggiovariationsfor the first sectionof thisbook.Thewritten accompanimentcanbe dePartedrom duringthe soloexcursions ofthemetodyinstrumeni tobuild andextendthe intensityof thedevelopmentAfter themelodyinstrumenthas completeda solo(severalimesthroughthe form),attempt aguita' solo onthe sameform, Remembertogive yourself someroomat the outsetofyoursolo-lt isn talwaysnecessary obegin the secondsoloat thesame densitywith which thefirst soloistleaves off.lfyouarethe soleplayerremainingafteranotherPlayerhas comPletedhis soloon lheform.it can sometimesbequiterefreshingto amusicalform to inserta more freelyim_orovised sectionon somerelated,but different,harmonicmaterialbefore returningtoplayonthe srcinalform. This devicecanhavea renewingeffect onthe srcinalmaterialo'deflatethe wholepiece,dependingonyour success,but it is oftenworth therisk' 74
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