For sure, I will do something better for a bass line, this is just a demo, I even suppressed the metronome and piano to keep it minimal.
I want to make a new lyric. The morbid Irishman in me wants to have the singer singing from beyond the grave, regretting that he cannot cross that "ocean" to reunite with his love who still lives. I don't know if there's any version of the traditional song that has it that way, I'd be surprised if not. In any case, it's my party and I'll die if I want to. =8^)
I'd be interested in hearing a new lyric. Apparently, the one I use differs greatly from the original, not just because it's in English and rather sentimental, but because early Gaelic versions were usually quite bawdy and humorous!
One of my favorite songs. First heard it when done by Charlotte Church. Who is one of my favorite singers. Bass was a little loud. I think an Irish whistle or steel pipe would be cool. I think thats what they call it.
One of my favorite songs. First heard it when done by Charlotte Church. Who is one of my favorite singers. Bass was a little loud. I think an Irish whistle or steel pipe would be cool. I think thats what they call it.
Listening to Charlotte, thanks for that. Now she's singing Tonight.
I have a complete set of those steel pipes. I call them pennywhistles.
I hear "The Stripper" in my head right now, because of that other thread.
I should mention that I don't plan on doing this as another headbanger like "Star Of The County Down".
At the moment, I'm checking out melodic inversion in a descant, constrained to the existing chords. I don't think this works well with both lines together, I think the main melody needs to be presented in isolation. But there's definitely material here to be expanded on, for the larger piece to which I continue to commit myself...
I hear "The Stripper" in my head right now, because of that other thread.
I should mention that I don't plan on doing this as another headbanger like "Star Of The County Down".
At the moment, I'm checking out melodic inversion in a descant, constrained to the existing chords. I don't think this works well with both lines together, I think the main melody needs to be presented in isolation. But there's definitely material here to be expanded on, for the larger piece to which I continue to commit myself...
I think of The Birthday party's Nick The Stripper when the word is used. "He's a fat little in sec tah" I think the inversion comes across as newer and almost an new original.
Cheers rayc "What's so funny about peace, love & understanding?" - N.Lowe
I think the inversion comes across as newer and almost an new original.
Yeah, so it competes with the base melody and distracts from it. Something to use for an instrumental break, or I could let the inversion change the chords as well and have a whole alternate section to bounce into and back out of.
This is just a simple flip of every note around the root axis. The only thing I did after from running the Logic function was adjust octaves to keep everything in range and add the cute arpeggiator.
I am, like, stunned. Voila, new music, beautiful new music. Honesty compels me to credit the source, but I could rightfully claim this as a new, original composition, if I wanted to detach it from this project, which I do not.
Here's an idea for ya, replace the bass with a cello. Replace the piano with a soft music box. Double the song and add the penny whistle in that second half either playing harmony or some counter point. Just a thought based on how I would do it. YMMV
Whenever I get something stuck in the back of my throat, I dislodge it by drinking a beer. It's called the Heineken Maneuver.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
Here's an idea for ya, replace the bass with a cello. Replace the piano with a soft music box. Double the song and add the penny whistle in that second half either playing harmony or some counter point. Just a thought based on how I would do it.
Thanks, I just pasted the text above into my Logic project's note pad.
I am, like, stunned. Voila, new music, beautiful new music. Honesty compels me to credit the source, but I could rightfully claim this as a new, original composition, if I wanted to detach it from this project, which I do not.
Yep, that's something to go on with for certain.
Cheers rayc "What's so funny about peace, love & understanding?" - N.Lowe
OK, not wishing to wear out my welcome here, I will not post Yet Another In-Progress Version. But I think I have arrived at an ARCHITECTURE for this project, within which further development will take place, and I will post a picture of it.
Four short sections, about a minute each:
1) The theme in D Major (green) 2) The theme inverted, but constrained to the original chord progression (blue) 3) The theme and chords inverted – for reasons I do not fully understand, this takes the piece into G minor (red) 4) Return to the original chord progression in D Major, with the theme doubled by its in-key inversion
As Ensign Parker used to say on McHale's Navy, "Gee I love that kind of talk!"
Much room within each section for all manner of foolishness and folderol, and the key changes present a challenge to do something more interesting than just slam one against the other. I am incorporating Mario's suggestions regarding instrumention, using cello, recorder and celesta. At some point, I will probably invoke BIAB.
From the Irish traditional. Done mostly in Logic, with cello from BIAB as well as a very brief guitar coda that might be the best part. Please see spiffy colored diagram above for architectural overview. Thanks for the support during incubation.
Resolved is an understatement... This is brilliant. The Elec piano is perfect... The cello counterpoint works so well, and Acoustic Guitar at the end is a really nice touch... Great work Mark...
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Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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