blue devil's chords(warm-up)
Briks
mp3, but anything will do. Thanks.
Nick Cirilli
if you want it let me know and ill email it over sometime..
-n-
Nick Cirilli
Lehigh Unversity '01 -- ng...@lehigh.edu
Kappa Kappa Psi -- Kappa Gamma Chapter
Lehigh University Marching Band '97-'01
Lehigh University Pep Bnad director
kno...@rootcom.net
ibr...@bellsouth.net wrote:
> I need a sound file of this warm-up please. Preferably real audio or
> mp3, but anything will do. Thanks.
>
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Michael Wilson
<kno...@rootcom.net> wrote in message news:7m36jj$oct$1...@nnrp1.deja.com...
Michael Wilson
Maybe a BD alum could clear this up?
Ltn Mundy <ltnm...@aol.com> wrote in message
news:19990708213910...@ng-fa1.aol.com...
> >Isn't the progression:
> >Tonic - V - iii - IV - V - Tonic
> >
> >I always thought it was just
> >
> >Tonic (then add the V then the iii, while the Contras hold the Tonic)
then
> >progress to IV then V then Tonic.
> >
> >But then I only had a year and a half of music theory in College.
>
> You're getting your arabic and roman numerals confused :)
>
> They build the root position I chord. (first, fifth, third) Then the IV V
I
> progression.
>
> Just out of curiosity...I know BD has the contras hold the root position
all
> the way through, while most arrangements of the I IV V I progression have
the
> IV in first inversion, the V in second inversion, and the I either in
first
> inversion or root position. What do other corps that use that progression
do?
>
> Alan
>
> >-Brent Edwards
> > reply to: bre...@wa.freei.net
>
Danny Ruiz
Ltn Mundy wrote in message <19990708230117...@ng-fp1.aol.com>...
>>In the version I have, there is a minor three chord before the IV chord.
>>Maybe a BD alum could clear this up?
>
>there's only three chords after that...IV V I. I've heard versions of it
with a
>iii in there, but not played by Devs. Besides...just listen to it...there
>aren't any minor chords in there :)
>
>
>Alan
I think it's the Cavies that do it with a minor chord in there; not terribly
sure, but I had a Cavie tell me that they did the progression with 7 chords,
not like the typical 6.
L8s...
________________________________________
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Skiis alot
it.
Isn't the progression:
Tonic - V - iii - IV - V - Tonic
I always thought it was just
Tonic (then add the V then the iii, while the Contras hold the Tonic) then
progress to IV then V then Tonic.
But then I only had a year and a half of music theory in College.
Ltn Mundy
>Tonic - V - iii - IV - V - Tonic
>
>I always thought it was just
>
>Tonic (then add the V then the iii, while the Contras hold the Tonic) then
>progress to IV then V then Tonic.
>
>But then I only had a year and a half of music theory in College.
You're getting your arabic and roman numerals confused :)
They build the root position I chord. (first, fifth, third) Then the IV V I
progression.
Just out of curiosity...I know BD has the contras hold the root position all
the way through, while most arrangements of the I IV V I progression have the
IV in first inversion, the V in second inversion, and the I either in first
inversion or root position. What do other corps that use that progression do?
Alan
>-Brent Edwards
> reply to: bre...@wa.freei.net
Ltn Mundy
Mike Fedyszyn
~Mike Fedyszyn
chee...@aol.com
http://members.aol.com/cheezhed8/home.html
EvilTuba
There are several versions of the contra part floating around, including one
where the contras split.
In 95 BD did a version where the second and third time through was in minor,
with a suspension at the end. I have that progression on paper somewere too.
John Adcock
BD 89
Brian Belski
progression. I know SCV did for awhile, but I haven't heard them play that
progression in while either. Besides, when SCV did it, they did it in C,
not F. As for the actual progression, it's very simple.
1. Root (F...or concert C if you're so inclined)
2. Root plus fifth (current BD version has a contra split)
3. "F" Major triad
4. "B-flat" Major Triad
5. "C" major triad (I think it's actually C7.)
6. "F" major triad
If you're truly using it as a tuning exercise, the minor iii chord is great
to add in there before you move to IV. It gives the players a chance to use
their ears to hear the difference between how the 3rd of the major chord
("E" in the C Tuning version) is played slightly differently when that note
becomes the root of the iii chord. But that's if we're trying to get all
educational. For the rest of you, just play it loud.
Brian Belski
SCV Brass Staff 97
LEG at cba
few months or so we revisit this issue. 8-)
FWIW, (and a lot of you vets out there know this) chord progression warmups are
not new. We were doing 'em on G-D bugles "back in the day".
Here's one: I, V, vi, IV, I, V-7, I
We also used a Bach Chorale.
Larry "G"
Tim Gardiner
chord up (I, V, III) then the minor III chord followed by IV, V I.
We have played this in C (C, Em, F, G7, C) and F(F, Am, Bb, C7, F) over the
years. C is good for matching tuning and balance accoss the line, and F is
cool for playing LOUD!!
Tim Gardiner
Senators Drum and Bugle Corps
Brass Writer 96-99
Brass Caption Head 97/98
Ltn Mundy <ltnm...@aol.com> wrote in message
news:19990708213910...@ng-fa1.aol.com...
Michael Bell
The key used to be F major is it still ?
Michael
Skiis alot wrote:
> I have a copy that was taken off of their 1998 CD, lemme know if you still need
> it.
>
> Isn't the progression:
> Tonic - V - iii - IV - V - Tonic
>
> I always thought it was just
>
> Tonic (then add the V then the iii, while the Contras hold the Tonic) then
> progress to IV then V then Tonic.
>
> But then I only had a year and a half of music theory in College.
>
ZzHamilton
>lega...@aol.com said
>FWIW, (and a lot of you vets out there know this) chord progression warmups
>are
>not new. We were doing 'em on G-D bugles "back in the day".
>
>Here's one: I, V, vi, IV, I, V-7, I
>
>We also used a Bach Chorale.
i personally have a soft spot in my head for the vi chord, but i too am
curious about this fabled contra pedal point on the root of I, doesn't this get
rather funky when they go to V7? pedal point use in your typical Bach Chorale
allows the pedal point to function as the V/dominant root below a whole series
of unresolved progressions often with secondary dominants leading to I/tonic
(for you Schenkerian types thats an extended 2 leading to 1)
or, and this is more frequent in fugues, having a pedal point on the Root of I
while an extended codetta occurs in the upper parts (a simple example is the
end of the famous prelude in C that Gounod swiped for Ave Maria) i like this
one because it's like that scene in a horror movie when you think the bad guy
is dead but he jumps back at you again -just when you think it's over-it ain't
over.
if you REALLY want to stretch your tuning ears i would suggest series of chords
where there is a common tone between them that changes function (Cmaj, Emaj,
Abmaj...) that forces you to hear the subtle changes in tuning that accompany
the function changes. perhaps we should all be tuning with Wagner? (could you
see BD blasting out the Tristan Chord while the drums do 8-on-a-hand?!)
David Hamilton
Contra: Star, 27th, Brigs...
Ltn Mundy
>curious about this fabled contra pedal point on the root of I, doesn't this
>get
>rather funky when they go to V7? pedal point use in your typical Bach
>Chorale
>allows the pedal point to function as the V/dominant root below a whole
>series
>of unresolved progressions often with secondary dominants leading to I/tonic
>(for you Schenkerian types thats an extended 2 leading to 1)
Hmm...are you refering to a pedal 6-4, or an NCT pedal point. I've written some
chorales with a pedal on the root of I and you get some weird effects,
especially in minor. Sounds like horror movie music :) As for the pedal 6-4,
the vi-IV-I progression with the root I pedal point is awesome! Unfortunately
the accepted form for tuning exercises is to end on an authentic cadence,
rather than the plagal. If you put a V or V7 inb/w the IV and I it just sounds
weird...especially the V7...probably makes for a very cool suspension, though.
I've never messed too much with secondary dominants in warmups, unless it
actually modulates...you lose the tonal center. Then again, with some of the
music corps play today, it'd probly be a good idea to practice lots of
neighboring keys without modulating.
>or, and this is more frequent in fugues, having a pedal point on the Root of
>I
>while an extended codetta occurs in the upper parts (a simple example is the
>end of the famous prelude in C that Gounod swiped for Ave Maria) i like this
>one because it's like that scene in a horror movie when you think the bad guy
>is dead but he jumps back at you again -just when you think it's over-it
>ain't
>over.
lol...are we thinking alike a bit?:)
>if you REALLY want to stretch your tuning ears i would suggest series of
>chords
>where there is a common tone between them that changes function (Cmaj, Emaj,
>Abmaj...) that forces you to hear the subtle changes in tuning that accompany
>the function changes.
A I-III-V progression?? My theory teacher would shoot me :) I avoid the iii
whenever possible, unless it fits into a specific construct that I'm working
on. It's a bitch on partwriting.
perhaps we should all be tuning with Wagner? (could
>you
>see BD blasting out the Tristan Chord while the drums do 8-on-a-hand?!)
lol...then the show would be a bit anticlimactic, wouldn't it?:)
Alan
ZzHamilton
Cmaj-Emaj-AbMaj are not in the same key but rather share a common tone (Cmaj &
Emaj share 'e', 3rd function to root function; Emaj & Abmaj share 'g#/ab', also
3rd function to root function) you can't do that progression with Roman
Numeral analysis in any meaningful way (I-III-bVI ?!) if you're looking for a
fun cadential chord that has a more Rachmaninov feel try the fully diminshed iv
in 3rd inversion over the pedal dominant (e.g.D-F-Ab-B over G pedal) it's a
sound even Alan Forte could love!
Skiis alot
caption heads and arrangers come out of the wood work and put in thier two
cents (or ten cents from some...)
Just a thought!
Skiis alot
Tim
that
>Cmaj-Emaj-AbMaj are not in the same key but rather share a common tone
(Cmaj &
>Emaj share 'e', 3rd function to root function; Emaj & Abmaj share 'g#/ab',
also
>3rd function to root function) you can't do that progression with Roman
>Numeral analysis in any meaningful way (I-III-bVI ?!)
Sure you could. I - V/vi - V/N. Don't we remember our secondary dominants?
That could be the beginning of a cool progression. Maybe I - V/vi - V6/N -
IV - N6 - V42 - I. That works pretty well. Good use of chromatics to warm
up the ear. My Arabic numerals are inversions, not chord tones. I didn't
want to confuse anyone with a 42 chord :-) Besides, the 42nd scale degree
is a seventh anyway, just 5 octaves up :-) I would hate to be reading
changes and see a C42#11alt9b13. As cool as I'm sure that chord would
sound, it would frighten me at first :-)