Math07's Learning Log - Beyond the Blues Immersion

That was long, but a nice post to read! :slight_smile:

You have thought well and probably could answer quite well yourself, but me too, I am finding such a discussion interesting and everyone with their own point of view often adds new aspects…

  1. Storytelling
    high and low notes, motiv and answer, louder or more aggressive playing versus smooth or calm, strange notes or very easy harmonics, the speed and way you play the notes and certainly much more can all add to the feeling and support the story you’re thinking about.
    I guess that it will be easier for you after years of playing. Constructing something is difficult for me at the stage I am, so applying what I said above, I could only vaguely try :slight_smile:

  2. Sounding the same over various songs
    If you you use standard licks all the time and always play 12 bar Blues in E, it may sound similar. But I think you’re already creating your own licks and melodies?
    I don’t think you should worry about it at the start, but start creating. After a composition, you’ll see and learn and maybe adapt your song or know what you wnat to avoid in the next one.

  3. and 4) Choruses
    Uhm… I guess there are/will be helpful answers from the others :slight_smile:

  4. Final CHorus
    Yes, I think it should be different,… louder, more intense, or could also be quieter if it suits your story.

How could I give only a reply? (knowing “nothing”) :roll_eyes:
I yet have to write as nice instrumental things as you’re doing!
It would be nice to hear more of you compositions in the future! :slight_smile:

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Difficult to answer indeed, I am in the same boat as you. :grinning_face: You can follow theory (rules), trial error method, use things (licks) from others that work and from my experience, still you will end up with something that sounds forced/mechanical. I haven’t progress further from this stage - every once in a while I surprise myself with something that comes up and those moments give me hope that these things take time and everything will come in place with experience and hard work.

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As an uncreative soul I can’t answer your questions, Mathieu.

They’re great questions though and I’m following the replies and discussion with a lot of interest.

I’d love to be able to unlock some musical creativity.

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@AJSki2fly @jjw @sclay @Beatup6String @domi7 @Boris1565 @BurnsRhythm
Thanks a lot for participating in my discussion and sharing your thoughts on the subject. It was quite interesting to read and full of great insights! It’s great to be part of a community of enthusiastic learners. :slight_smile: I’ll try to mediate on that in my upcoming practice sessions :slight_smile:

The Late Thread Blues (Version 2)

As discussed, I added a second chorus to the composition. :slight_smile:

Thread - Call and response

Since you have been following the whole creative process, you might wonder what was the thread that I had in mind ? :rofl: :rofl:

Justin says that threads are subtle and listeners won’t necessarily know what ideas we had in mind when making the solo, so I thought it could be useful to share it from a learning perspective.

I’ve heard many times about Call and Response, but had never used it in a conscious way.

Chorus 1

Idea 1 : The Opening Call

I was inspired by a lick I found really cool. This is a lick that will be important for the song.

I used this lick as a “Call” 2 times at the beginning of the song, with a small rhythmic variation. I changed the triplets to eight notes.

And the two responses are completely different.

Idea 2 : The Shared ending

Right after, the next bar answers back by locking into the exact same ending, tying the phrase together.

This is also a lick that will be important for the song as I will come back a few times to it in chorus 2.

Idea 3 : Switching things up

As Justin says in his videos, it’s usually time to switch things up after a call and response. So, the rest of the first chorus focuses on licks that sound pretty different, specifically designed to highlight the chord changes.

Chorus 2

Idea 4 : A New Call

Time for a new call lick! I hesitated between keeping the exact same one as in Idea 1, but I ultimately preferred introducing a fresh one. I played it twice, tweaking just the last note for a subtle variation.

The responses changed too.

Idea 5 : Repetition

I wanted to bring back some elements from chorus 1 so chorus 2 sounds like a continuation. So, I choose 1 response that I liked.

But, I wanted to do it in a subtle/elegant way, not like too obvious like copy and paste.

If you look carefully, the notes in green are the same, but played an octave higher. I changed the rhythm, played them one after the other instead of double stops so it doesn’ sound the same.

The notes in blues are also linked together in a similar way. I played with the octave too. And added some space by introducting a new lick (with the triplets) in-between.

However, it wasn’t 100 percent planned in advance. I was looking for a way to bring back some ideas from Chorus 1 without sounding repetitive, and stumbled upon it while trying some things out. It ended up sounding cool—more subtle and elegant than simply repeating the exact same thing.

From Chorus 1 :

From Chorus 2:

Ending

To wrap it all up, I wanted to highlight the chord changes one last time.

And finished the chorus by echoing the catchy intro lick (with a small variation) to bring the whole solo full circle.

Conclusion

It was not really easy to explain my thought process in words, but hopefully it can still be fun to read as a story for some ideas for your own thread challenge :slight_smile:

Obviously, composing is exhausting, so I wouldn’t do it more than once a month. But I feel like having a common thread makes things more fun for me. It doesn’t feel like just throwing random licks together and calling it a day. I feel more creative this way, and having a unifying idea for the whole song makes more sense.

@Richard_close2u @Dave_Birnie Do you think this whole post makes sense in regards to the Thread lesson in Blues Immersion or I misunderstood something ? Though, I would like to get some feedback to avoid going on a wrong path. Pretty please :folded_hands:

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Hi Mathieu,

I just replied to your previous post about your first chorus. I didn’t realise you recorded a second chorus too.

I liked your ideas for chorus 2. Starting a new thread and using repetition with variations were good ideas.

Yes, your solo makes sense and demonstrates various threads. They are quite subtle though. If you didn’t add the TAB and explain them, I might have not noticed all of them. There’s nothing wrong with that though. Threads are a personal thing. They can be subtle or obvious. It’s up to you.

Composing a solo using threads is a great exercise. I admire the work you’ve put into this. The next thing I think you should try is to improvise using threads. For example:

  • Pick one thread. It could be a rhythm or a technique. Then try to use that thread multiple times during the 12-bar sequence.

  • Limit your options and try to get as much music out of what is available to you. For example, try to play a whole 12-bar using one pentatonic pattern or even one octave.

These are just exercises, but they are great ways of helping us improve our improvisational skills. Eventually, you’ll be able to forget all this and improvise freely without planning ahead. That takes time though. It’s something we all aspire to be able to do and something I still work on regularly.

Well done. Keep up the good work. :+1:

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