1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
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What makes JW - practical structural examples

Discussion in 'Info, Requests, etc.' started by Jure Jerebic, Nov 20, 2018.

  1. Is anyone else very interested in having a practical JW masterclass, where Mike would look into his music and on practical examples show what makes JW so genius, in terms of structure and development? There's been much talk about the structural development being crucial to that, but I for one would love to have an expert explain it on JW's practical examples.

    Sign me up, for one!
     
  2. Have you gone through "Here’s Johnny!" and "Here’s Johnny, too"? Those should give a good place to start.
    And if you're interested in structure, then... "Structure". Go through the whole Masterclass, but from 01:45:48, Mike does a little structural breakdown of Battle of Yavin.
    Also... get a score and Transcribe ;)
     
  3. Jure Jerebic likes this.
  4. Oh! I have purchased a bunch of Mike's Masterclasses but haven't even seen those! Thanks! :)
     
    Daniele Nasuti likes this.
  5. I do have Structure and did it, but didn't even see the Johnny ones, will check them out :)
     
  6. Oh Mike is reading our minds, got a few more classes, up to 9 now. Loving them all, I can look back to the tracks I've written a year ago and hear a thousand things I would've made differently now to make it better. Thank you!
     
  7. In Here's Johnny! Pt. 1 at about 2:15:00 in, Mike says he'll do a video on his fav twelve modulations from C to any other key. Has anyone seen this? I've looked at the YouTube channel but couldn't find it.
     
  8. #8 Alexander Schiborr, Nov 22, 2018
    Last edited: Nov 22, 2018
    here dude:
     
  9. Thanks man, what time though? I've watched this one before so it jumps straight to the end for me.
     
  10. Dude, whats up with you? Get some bustelo coffee :D click on the fucking link, I embedded the time code for you. But anyways it is starting at 11 minutes...:p
     
    Martin Hoffmann likes this.
  11. Thanks for finding this!

    Instead of clicking you need to quote the post with the video to see the timecode parameter in the youtube link. Otherwise you just get the link without the timecode. Forums have weird ways of handling this for embedded media links.
     
    Jure Jerebic likes this.
  12. Yep. There's nothing up with me ;) Thanks!
     
  13. #13 Alexander Schiborr, Nov 22, 2018
    Last edited: Nov 22, 2018
    Normally it should work just by clicking on the play button in the YT link because the timecode is part of the link. At least it works here just by clicking and it jumps directly to the spot in the video..
     
  14. Not by default, except if you visited a link with the timecode already embedded to start with. Otherwise, you need to right-click on a video, and then copy link at current time; maybe you did that, and the forum pasted it weird. No worries, all good!
     
    Alexander Schiborr likes this.
  15. Yepp, can be. allright good to hear it works.
     
  16. I just started watching this... its pretty glaringly obvious at this point how much different our influences are... I have a mathy brain, so I'm way more inclined to come up with more classical modulations... I just got to E major, and never in a million years would I guess that path...

    I'd just swing it 1700s style, and go C, A, D, B, E - with the A, and B in first inversion with a chromatic ascending bass... causes the bass to ascend by a half step every time, and the other two voices alternate between not moving and leaping up a whole step... having gone farther - but you could change it very slightly at any point to "get off the train" by doing a 3/4 suspension...

    i.e.

    C E G
    C# E A
    D F# A
    D# F# B
    E A B
    E G# B
    then proceed in A major...

    same concept can apply to navigating to minors...

    like C- Gminor

    C - F6 - D6 - DMm7 - Gm

    I tend to use V/V7 as a tool to get to a new key, but there are a few other useful tools in the "traditional" school of thought... one of my favorite devices is the augmented 6th chord - and it's relationship with the neopolitain.

    the augmented 6th is the relative V7 of the neopolitian - and between those 4 chords, you have access to all 5 of the notes that aren't diatonic.

    Ill try to shoot some examples in here when I get time, but since math WILL allow you to get to where you need to be if you go by the "rules" then particular examples wont help much... mainly because giving you specific examples of how to achieve a sound based on guidelines makes very little since when you could just learn the guidelines and follow the recipe yourself.
     

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