"Innocent Believers" - A Twelve String Guitar Composition

Please try something new...if you teach.

A RANT ON EDUCATION FROM A TEACHER...ME!
There is no system where you can put 20-30 kids in a room and expect them to learn from one teacher doing the same boring lecture format.

The best learning environment is one where students are active and engaged with each other in group tasks where cooperation and the sharing of ideas and methods takes place. We spend millions on coming up with

ways to teach more effectively when it is really simple.

Put down the books for at least half of the class, roll up the sleeves, and get an active, creative, and engaging project going where all learning styles are free to function. Then see the innate power of youth come alive in a classroom that is NOISY WITH ACTIVITY. Ohhhh no I can have noise in my classroom...that's unacceptable..." Shut up! Then be happy when 15% of your class actually understands what you're teaching and the other 85% leave with absolutely not progress, and worse, no motivation.

THERE I SAID IT! SO SUE ME IF YOU DON'T LIKE IT!

REFLECTION A MUST

The following is a brief letter written the day after a performance by the session students at my performance studio.

Looking back on the playing tonight. I was struck by what the studio is all about. As performances move forward it becomes clear that learning is ongoing in the process of performance and points directly to what we do with the students. There were some unbelievable performances tonight. 

 

These moments showed in great detail the power of youthful creativity and skill. In some ways, tonight was some of the best playing I've ever witnessed from the veterans. They were calm and relaxed, and took chances.

As players mature week by week, and as they prepare month by month, the evidence clearly shows that moments of professional playing are occurring. This continuation of what could be a lifetime of constant improvement could lead to very positive results in any number of ways in terms of their active involvement with music.

The moments of less-than-perfect playing are also themselves a move forward as self-correction will occur in time leading them to the some inevitable end, mastery.

Thanks to all who sacrifice time and effort to give such a great opportunity for all who would choose to work for it. Only good can come from being involved in such a creative, challenging, and worthwhile cause. Tomorrow and everyday after, will bring forward movement and greater opportunities for all.

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.

Recording Revolution

   

As luck would have it a tremendous electrical storm wiped out power in the area where my studio is located late Friday night. As of this writiing more than 24 hours later, the power is still out. Gas lines, very edgy drivers (one of which I got out to reprimand for his rude behavior), and extremely warm temperatures made for an interesting evening. I remained indoors until at leat 5:00 and decided then to drive to Guitar Center to look at studio monitors. I badly need good reference speakers for my work with protools software. 

I have become addicted to recording, editing, and mixing music. It's a fascinating process where one learns the real in's and out's of how recordings are put together in the modern digital age. The shortcuts and quality of sound are nothing less than incredible. 

   

Beyond that though are the natural questions that come to mind:

What will become of recording studios if its possible (which it is) to record from home with high quality and major convienience. Now this assumes that the individual comes to terms with a very step and time consuming learning curve.

What cost savings will be had once musicians can literally e-mail music files anywhere in the world? I did just that today sending two collaborations to Italy. About a month ago I finished and sent one off to Holland. 

Will isolation take over with musicians no longer having to relate face to face with each other on collaborative efforts? Well, that's a stretch until you consider the time involved and the fact that you are not relating directly to a live musician in the same room. 

Isn't it always that "The Sky Is Falling" mentality takes over when advances in technology are made? Of course it is. In the end, digital is still digital. Analog sounds better but is clumbsy and laborous. Digital is clean and quick but tends to sound sterile if you overload your music with software instrumentation. 

I had the pleasure of hosting a former student of mine at my studio over the last week. Zikay is an amazing musician who is a wizard with the synth and is in love with digital technology. A very telling moment occured during a playback of one of his works. I began to improvise over the track...suddenly Zikay stopped the music and exclaimed, "Wow, that's sounds great!" "It's not digital!" Even he could hear the difference.

So all this is to say, don't worry, join the revolution going on in recording and use technology to advance your music. In the end, you really have no choice do you?

"Note to Self"

Note to Self:

Make sure that today moves you forward. No step towards your goal will ever be small. Each one counts and each one builds upon the other.

You will face many doors today...each one with potential for good and bad.

Each one you choose to go through can have lasting ramifications.

Never underestimate the power within your inner voice. It speaks clearly. 

It's up to each individual to either listen or ignore.

You have amazing talent and determination. Most times, it's determination that brings results. Hard work, focus, ignoring unecessary distrations and naysayers. 

Never give in to those who attempt to pull you off course. They are everywhere and seek to keep you at a minumum. 

Unlimited potential lives within us all. Unfortunately, many never find it.

You, however, have.

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Just a little musical moment.