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Thread: my ukulele progress

  1. #611
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    Feb 2017
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    Default

    I attended my wife as she met her school friends from 20-30 years ago. I won't detail the trials and tribulations I experienced. I will restrict my account to the end of the night. People were separating. I in fact had to go to bed; some people have to work--don't you know. So some people were portioning out the watermelon, or the pies, or even the pasta. I had only eyes for one thing: the chicken carcasses. Yes, most of the time I eat vegan-esque...but I am not bound to that. My favorite quote is "never let philosophy stand in the way of results." So, although I am very isomorphic to a vegan, I do know the value of carcasses.

    I sntached up all those skeletons, added carrots, celery, and leeks (mirepoix for me) and pressure cooked it for a few hours. Now I have a nice white stock with which I can aerate my beans or even make some potatoes fondant.

  2. #612
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    Default potatoes fondant

    You see a lot of potato recipes but they are never worth the effort. Most leave me indifferent or they take so much effort that the expenditure of time does not off-set the result.

    Consequently, I only have a few ways of making potatoes that are worth it to me.

    1. hash browns--squeeze the moisture out and fry those shreds
    2. roasted potatoes--drizzle with some oil and herbs and salts
    3. fried potatoes--drizzle with oil and onion and other stuff
    4. fondant: fry the ends of potato cylinders, then parboil them in stock
    5. if grandma is coming, boil or mash the potatoes.

    Everything else is derived from one of the aforementioned categories, but mystified with extra details.

  3. #613
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    I decided to mess around with traditional blues progression that has some nice chord qualities. It features the m6 which is one of my favorites because of its somberness. Here are the measures

    01. Em6
    02. F#dim7 + B7+: sometimes that augmented chord sounded a bit harsh and I softened it to a Bsus4 7+
    03. Em6
    04. E7
    05. Am6
    06. Am6b5
    07. Picking E Aiolian #7, stressing the E and F# notes
    08. Picking E Aiolian #7, stressing the C and the E notes
    09. F#dim7
    10. B7+
    11. Em6
    12. F#m7 + B7

    Bars 7 and 8 are both supposed to be Em6, but that was too boring. So I inserted some picking to vary. Bars 11 and 12 likewise are meant to be Em6 as well. I changed to a traditional turnaround Emaj7 Fdim7 F#m7 B7. And I inserted an Em6 into bar 11 because the timbre of this progression is dark and the maj7 chord is anything but dark.

  4. #614
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    Feb 2017
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    Where was I? Oh yeah I was playing that blues progression before I had to do some work. Speaking of work, I have two full-time jobs and someone called me privileged today. So I am privileged because I work two full-time jobs, and I have made excellent lifestyle choices (viz., no TV or cell phone--which saves hundreds per month). I use those privileges to save money from every paycheck so that I can buy my elitist ukuleles over time. I guess it is rude to flaunt my work ethic and sense of household economics. I don't understand.

    But what I do understand is that I am still not happy with bar 11 of that progression. My problem is that I don't like going to the tonic because it sounds like we're back at the top. I think it is confusing. Here's how I think it should be:
    1. the II chord which anticipates
    2. the V chord, which anticipates the tonic
    3. but instead of the tonic, we throw a curve ball
    4. after that misdirection, the II chord
    5. then the V chord, but this time we go back to the top with the tonic.

    Therefore instead of resolving in the 11th bar, we need a detour. I tried a few things. First of all, I tried Bb, the tritone of E. Of course I realize that tritone substitution is supposed to happen with dominant chords but it sounded pretty good here. I also tried C#, the relative minor of the tonic. Both sounded good but they had a different feel. For C#m6 I used a lower voicing, so it a different lilt to it...as opposed to the Bbm6 which was higher and formed a descended cadence with the two chords of bar 12.

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