Timothy's Blog

Timothy's blog on dulcimers, music, nature and life!
MAR
05

A new idea every day!

A new idea every day!

Recently I ran across an article that mentioned that Jerry Seinfeld has for several decades kept a custom of coming up with a new humorous idea every single day, and that he’s never let it lapse --- a continuous line of red x’s marked in his calendar as he has concocted a fresh gag every day.  Impressive!

Then coincidentally --- or providentially --- the same day as I was reading elsewhere I found that Dolly Parton has had that same practice since she was a child: dreaming up a new song idea every single day for her entire life.  Wow!

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MAY
13

You can compose music from special groups of notes!

You can compose music from special groups of notes!

In music the French word motif’ simply means a group of notes that you use to start a musical composition and to refer to throughout the composition for unity.  That’s all!

Maybe the most famous example of a motif is the set of theme notes of Beethoven’s Fifth Symphony:  ‘Di-di-di-dah’ (used in the Second World War as Morse Code for ‘V’ for victory) --- and if you listen to that matchless symphony you can hear Beethoven developing an entire movement --- with references throughout the rest of the whole work --- from that simple set of three notes, G-G-G-Eb (in the key of C minor).

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SEP
18

A spontaneous 'Shenandoah' on hammered dulcimer

In 1996 I set about recording the classic folk tune ‘Shenandoah’ in a special, new, expressive way with something of a sense of the epic in its flow.  So I chose to devise a pattern in which each verse would be in a different key and each new key would be either a major or minor third away from the previous one --- a somewhat startling and unconventional kind of key change!  

On top of that, I wanted to jump to each new key immediately at the end of each verse without playing the verse’s last note --- at least till the very end of the whole piece.

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9248 Hits
SEP
04

Playing in an ensemble

Playing in an ensemble

Although nowadays I play solo most of the time, I love to join with other musicians in ensembles when I can, and have a series of different groups planned throughout the rest of this year: church worship team, acoustic duets, trios, quartets, even an Old-Time/Celtic sextet!  If you play with other musicians, you need to make many decisions about how each player’s role fits into the overall picture.

I as an improviser tend to look for ways I can come up with special countermelodies and textural enhancements --- as well as creative, meaningful interpretations of the melody when it’s my turn to play lead, or improvisational breaks when called for.

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AUG
22

Coming up with musical fill-in parts in an arrangement or improv

Coming up with musical fill-in parts in an arrangement or improv

When a musician is putting together a typical arrangement it’s good for him to 1) make sure he has a solid rhythmic pattern going, and he needs 2) a good chord structure moving along within that rhythm, and of course he needs 3) a straightforward melody.  If they’re handled with taste and skill, this group of factors combine for a fine rendition of the piece.

However, there are often long notes at key points in the melody’s progress, and players like me crave an extra voice “singing along” during those long notes (and perhaps elsewhere as well) to add interest and color.  I’ve found that there are a lot of ways to work with that, and I’m always working on these creative “fill parts,” so I thought I’d jot down a collection of ideas to consider if you want to.  Here they are!

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