What did YOU record this weekend?

[Dom Franco]

Christmas is not too far away!

I recorded a cover of a Christmas Song called:
"Mary Did You Know?" I have 12 songs currently in the works for my annual Christmas project.

I close miked my Fender Jumbo and ran a direct out of the fishman pickup to another track. The guitar just sounds incredible this way.

Later in the afternoon Saturday my Daughter who is leaving for college this week, sang some beautiful vocal tracks. I recorded 3 quick takes and am now in the process of cuting and pasteing it into a lead vocal.

Dom

 

[Sennheiser]

laid down the first piano tracks for a song called A Nightingale Sang in Berkley Square". I "classicalized" the chords progression though, by playing some of the chords by using what's known as an octave + 1/3 technique. This technique requires you to "roll" into the chord kind of like an extended arrpeggio, and 7th's 9th's and 11th's can span several octaves. (Very sweet sound, when done right.) I only managed to get the first verse done.

I'd like to hear that when it's finished if you'll post it somewhere.

It sounds very nice.

 

[Michael Jones]

I'd like to hear that when it's finished if you'll post it somewhere.

It sounds very nice.

I'll put it in the clinic when it's done.

 

[littledog]

Michael:

Is this a sequencing technique or a live playing style? I've been a piano player for over 40 years, but I've never heard that term before. I can't imagine doing a live recording session and only getting one verse down, which makes me wonder if this is some kind of a non-realtime technique? But it is a great song - I've been playing it since about 1981.

Anyway, in answer to the original question. I don't record on weekends for two reasons:

• Too many people in the neighborhood mowing their lawns or having loud outdoor parties.
• My girlfriend has a regular 9-5 job, so weekends are our only chance to have fun.

If someone wants my studio, they've got to be willing to track on weekdays or week nights!

 

[Sennheiser]

Littledog, It's very easy to record a song in sections on a multi-track. Especially solo piano. You can do four stereo tracks on an eight track machine.

You can either punch-in on your original tracks(s) or record a new set of stereo tracks parallel to the original starting somewhere before the original left off.

At mix down you start using the mutes if you record parallel tracks.

 

[Michael Jones]

L.D.
It's a playing style.
You've never heard of playing chords so they span an octave + 1/3?
Cm, played in the left hand, is played C2, G2, Eb3. That spans an octave, plus a third. Little finger plays the C, middle finger plays the G, and the hand rolls across so the thumb can reach the Eb.
It's not an inversion, at least not a true inversion, because the root is still played in the bass.
Cm7 is played C2, G2, Eb3, G3, Bb3. The "G" can of course be ommitted, but it's a smoother transition to add it (the G3) and roll into the Bb. Notice the octave plus a third happens twice in this instance. (C2 - Eb3, and G2 to Bb3)
You can do this all the way up and down the scale, and the octave plus a third shifts as you do.

It is a very effective method of taking a decidedly jazz tune, a jazz standard in this instance, and giving it a richer, lusher arrangement; reminiscent of a decidely classical style. This technique is used most effectively by pianist/composer Jim Brickman. He refers to it as Brickman-izing a song.

Don't use this technique on every single chord or it will get old, quick!

I got several takes of one verse down L.D.
I usually record it several times, until I'm happy with mic placement, EQ (if needed), etc. Then, once I feel like I have the sound I want, I play through the whole song. Usually several more times! Until I'm happy with the final product.

Oh, and umm, I don't sequence! I play through the whole song! I guess the reason I only got down one verse is becuase I'm basically re-arranging. Notating my "composition" as I play, and deciding what I like best and want to use.

Does that make sense now? No, clear as mud?

 

[littledog]

Littledog, It's very easy to record a song in sections on a multi-track. Especially solo piano. You can do four stereo tracks on an eight track machine.

You can either punch-in on your original tracks(s) or record a new set of stereo tracks parallel to the original starting somewhere before the original left off.

At mix down you start using the mutes if you record parallel tracks.

And let me take a wild guess - you would want to use a pair of 441's, right?

It's been a few decades since I've been carded at a bar, and probably about that long since anyone assumed I never heard of comping tracks! Thanks for making me feel about 30 years younger!

But in case you are serious, my question had nothing to do with recording technique and everything to do with music. Of course it is possible to record 16 bars of piano at a time a couple of times a week, and after a couple of months have enough material for a whole song. Providing, of course, that your mics don't accidently move, your preamp settings stay the same, your piano doesn't gradually go out of tune, etc.

But it's hard to believe any jazz pianist would want to work that way.

"Hey, Mr. Tyner - what will you be recording today?"

"Why, I thought we'd see if we can get through the bridge of 'Early Autumn', then maybe if we have time, I can take a stab at the first couple of bars of the last 'A' section..."

You do sort of of lose a lot in the organic flow, spontaneous creativity, and emotion departments. So I'm assuming that Michael is using some specialized re-composing technique on the song that is done in non-realtime. Perhaps using a sequencer. I just wanted a little more info on what he was doing, since I never heard anyone use the phrase "octave + 1/3 technique" before.

 

[littledog]

Thanks Michael. Your post came in while I was typing mine. I see what it is now. I was assuming something more complex.

For fun, try reharmonizing the "A" section occasionally with (assuming key of Eb):

Am7(b5) Abmin7 | Gmin7 Bbm7 Eb7 | etc.

(for example, works really well to create harmonic contrast on the last A section)

(Sorry if I am assuming a beginner's knowledge of jazz harmony. No insult intended.)

 

[Richard Monroe]

Golly, I recorded nearly every way I can mic up a Taylor 710CE with my mics and limited knowledge. (I don't think my brain is quite ready for M-S micing.) I tracked the same 1:30 sound byte (some harmonics, some fingerstyle, some power chords, some rock 'n' roll) with every mic in the cabinet and most of the possible combo's, incuding transducer and on board mic direct into the board. The rest of my copious spare time was spent in blind listening tests with monitors, cans, and cheap stereo speakers. Well, I think I've narrowed it down to these options:
1. Matched MC012's in X-Y with C3 as room mic ? omni
2. MC012 on 12th fret and NTK over the shoulder
3. C2000B on 12th fret and MK319 over the shoulder

I'm leaning toward #1 for folksy, #2 for the blues, and #3 for rock. 2 10 hour days, we start serious tracking on Labor Day.-Whew hew!

 

[Sennheiser]

And let me take a wild guess - you would want to use a pair of 441's, right?

It's been a few decades since I've been carded at a bar, and probably about that long since anyone assumed I never heard of comping tracks! Thanks for making me feel about 30 years younger!

Ummm. Yeah. I kinda thought you were serious. But YEAH! I'd use the Sennheiser's in a second! They're just too good not to use!

Sorry, I didn't mean to assume that you didn't know about parallel tracks. It's been about two decades since I was carded. I kind of miss that. Now everyone thinks I'm just some middle aged retired military fart with a flat top hair cut.

 

[Michael Jones]

Thanks Michael. Your post came in while I was typing mine. I see what it is now. I was assuming something more complex.

Like what?

For fun, try reharmonizing the "A" section occasionally with (assuming key of Eb):

It is indeed in the key of Eb major.

Am7(b5) Abmin7 | Gmin7 Bbm7 Eb7 | etc...

Ummm, ok. (???) the latter is basically a iii7 | Vm7 | I7 | progression, I played that, and it feels like, to me anyway, that the return to tonic is a little abrupt.
On paper, it looks very natural to go from Bbm7 to Eb7, but... I dunno, I'll play around with it some more.

(Sorry if I am assuming a beginner's knowledge of jazz harmony. No insult intended.)

None taken bud. I actually hold a minor in music composition, so I know what you're talking about. I haven't had to really delve into second year harmony in a while. Good exercise.
Most of my compositional time these days is spent exploring 3rd and 4th species counter-point of a cantus firmus. I actually wrote an in-depth paper on that in college. Seems like ages ago.

At any rate, thanks!

 

[littledog]

Ummm, ok. (???) the latter is basically a iii7 | Vm7 | I7 | progression, I played that, and it feels like, to me anyway, that the return to tonic is a little abrupt.
On paper, it looks very natural to go from Bbm7 to Eb7, but... I dunno, I'll play around with it some more.
[/B]

It is a substitution for the first two bars of the A section. It does not go to the tonic. The next chord would be the subdominant (Ab). Hard to write rhythms out, but in the second bar the first chord is for 2 beats, and the next two 1 beat each.

Try it under the melody and you will hear how it works. The Am7(b5) is not a iii7, it is a standard jazz tritone substition pattern, in this case Am7(b5) to Abmin7 is substituting for Eb to Cmin7.


The Bbm7 to Eb7 is the iim7 to V7 that takes you to the subdominant Ab which would be the first chord of the third bar as it occurs in the piece.

I don't know how the first two or three bars of your particular sheet music is notated as far as the original chords, so I may be confusing you more than helping you! If you tell me what the chords are as you have them i can explain the substitutions better.

 

[littledog]

Like what?

I don't know. I was assuming it was some sort of advanced arranging technique, as opposed to one of those "you too can sound like a pro, let Jim Brickman teach you his easy method for only $19.95" methods you see advertised on the UHF stations at about 3 am!

 

[Michael Jones]

I don't know. I was assuming it was some sort of advanced arranging technique, as opposed to one of those "you too can sound like a pro, let Jim Brickman teach you his easy method for only $19.95" methods you see advertised on the UHF stations at about 3 am!

ROFL!
It's not like that at all.