Composition Session-

Student-Brandon Mijares 

Instructor-Mark Campayno

*These notes were taken by me during a 45 minute theory/composition lesson. They are posted to show the in-depth learning and teaching that can occur in a relatively short time.

Composing from the DIATONIC-BASED theory we've covered so far.

*A funk-based two chord riff or vamp was presented using the chords Em7-Bm7.

Key = E minor 

Style=Funk/Rock

Chord progressions:

Em7  Bm7 

Em7 Bm7 Am7 Bm7

Em7 Gm7 Dm7

Intro progression:  Em7  Bm7  Am7  Bm7

Question comes up, "What to play for intro in order to set up the piece for later 

development?" 

*A single-note funk melody using E-D-G notes was decided

upon. Those happen to be three of the four notes from an 

Em7 chord, which happens to be the "tonic" chord. 

A decision to add drum loop will be applied. A funky live drum loop was chosen. 

Verse progression:  Em7  Bm7

*An arpeggio pattern was applied here over the progression.

Em7 was inverted and played as a "D Major" basic shape on

the top three stings in positions 7 and 14.

7th position gives us D-G-B, which is a G major triad. However, 

and more importantly, it is an Em7 chord with no root!

14th position gives us A-D-F#, which is a D major triad, we are 

more concerned with it's "real function", which is a Bm7 arpeggiated

triad.

Chorus Section:

Em7  Gm7  Dm7

*A discision was made to use tapped arpeggios over the progression. Once a pattern was decided upon, it was applied to all three chords.

*As you can see, we have a movement away from our original E minor tonality.

The Gm7 has no relation to current key center. Therefore, a mode change is in order.

However, being that this will not a single-note solo per say, the original arpeggio/tapped

pattern. This section will lead us back to our intro progression.

Solo Section:

Em7  Bm7  Am7  Bm7

*As for a "method" of soloing over this progression, it was suggested to use some chromaticism

in the scale (E aeolian), in addition to wide intervals and string skips. Obviously, and for the purposes of the tone used (GuitarRig "God's Love"), slurs are endemic to such a solo. As for

why chromaticism within the aeolian scale? Remember that the piece is based on a very strong funk rhythm and chord pattern. Therefore, an approach to soloing naturally calls for "outside" tones

that, when placed appropriately, give the solo section extreme listenability and interest. 

Verse Breakdown:

The original chord progression of Em7 - Bm7 returns with some changes. The arpeggios are now played with distortion therefore making the part heavier. In addition, power chords augment the section as they are allowed to ring for the value of each. A "chug" rhythm has been added to the texture. The "chug" is an E power chord with the b9th tone (F) added. 

Interlude:

A mode change has occured. As you have seen, the addition of the F note during the chug led to a F diminished 7th arpeggio run that typically resolves up 1/2 step to our tonal center of E minor. However, resolution was made to F major instead giving a clear signal that the piece is now in another "zone". An angular two measure F major melody was applied that takes the music into an interlude of guitar melodies based on the repeated pattern.

This is an all-guitar section using multi-layered spacey clean guitars. 

The return of power chords (F-E-D-C-Bb-A-G-F) underneath signal a return to our original sections.

In the next installment, we will analyze the return to the original key of E minor and how that was accomplished. 

An mp3 of this composition will be provided after the next installment of this article.