Originally Posted By: rayc

"The spot at 3.30 was the pay off.
You've stuck to and consolidated your choices and timing with the groove but at that spot, and after, you slipped in some nice walks, and
in betweens".
You're making excellent progress.


Hey Ray, many thanks. It's clear you are a step up from just a "music critic" and are perhaps the best form of a "music analyst".
https://en.wikipedia.org/wiki/Musical_analysis

In addition to being drawn to the emotional and fun aspects of music I too am drawn to its intellectual and cerebral characteristics. When I listen to a high quality arrangement I try to understand and appreciate the "topography" of the piece as it unfolds over time and try to create a sort of topography in the stuff I work on; maybe one day I'll get close.

Regarding my playing beginining around 3:30; I'm basically playing what I feel which is reaching/walking up an octave and then sometimes walking back down thereby adding some variation and energy towards the end of the piece.

But I was remiss in not pointing out Marty's great keyboard work. He provided me 2 e-piano tracks that I think are each very melodic yet mutually different. Much of what he is doing may be hidden at times but you can catch a good glimpse of his work during the fade-out.

Alternating the verse and chorus bass lines is an advanced concept for me but I'll try to keep that in mind going forward.

Btw, and along the lines of cerebral popular music, one of my favorite artists is Al Stewart. This guy knows how to marry intelligent lyrics with masterful melodies. Check out this "history lesson" for example.

https://www.youtube.com/watch?v=WlfVNu2FFzE

Pax vobiscum smile

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BiaB 2025 Windows
For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.