23) Jimi Hendrix // Little Wing // Arrangement For Pad Waing-Piano-Voice
I want to bring in a song from my European tradition. I love Jimi Hendrix´s work. I loved it already as a teenager.
So I was working at an arrangement for the song "Little Wing" for our duo.
I still don't know, if everything can be played on the drumcircle the way I imagine it.
>I need to know, which tones appear in which octaves. I realize I don't know yet.
We will see. And then I will adjust.
I wrote it detailed in a schore. But I expect, that all the often repeated parts can be understood a bit "loose" and it would still sound good.
I was so inspired by an arrangement of Nicolai Thärichen, who set it into a dreamy and open atmosphere. He hid the concrete rhythm and time of the tune by adding patterns every instrument of his band plays. Those patterns are also starting at different times in the bars. Very interesting, very spacy.
So from the beginning I had different patterns in mind. Something very repetitive. Adjusting the patterns for the Pad Waing. A-minor seemed a good key for my voice. So everything started around this key.
I want Jimi´s original Intro idea. Bring it to the piano. With prepared sounds, inside play etc. on an open E-7 chord. Also the transcribed/written guitar lines should be prepared to give it more individual shape. I don't want to copy, I want to reference.
Thaung Htike would play the little Glockenspiel line during the Intro.
I come back to the E-7.
Then Pad Waing takes over with the first pattern.
The first verse comes in more spoken.
In between the verses can be some time to have some "Interludesounds" from the voice.
The second verse comes in with the original chords "against" the Pad Waing patterns. At some points it clashes harmonic wise. But I decide for this little dissonance.
On the same idea, on this net of interweaving tones happens a vocal and a piano solo. Open amount of forms.
Then I start a single vocal figure to accompany the drum circle. Open solo for drum circle.
Thaung Htike decides when to get back into the last drum figure. Figures are overlapping.
Drum figure continues. Vocal line stops. I sing a last verse.
Here is the schore, the drum part (called Piano) and a recording of the schore out of the program with my musical and non-musical comments on top of it:
https://www.dropbox.com/sh/838a2pvcatixtj4/AACtWaZ6eox28K5xepdKHv3ea?dl=0
So I was working at an arrangement for the song "Little Wing" for our duo.
I still don't know, if everything can be played on the drumcircle the way I imagine it.
>I need to know, which tones appear in which octaves. I realize I don't know yet.
We will see. And then I will adjust.
I wrote it detailed in a schore. But I expect, that all the often repeated parts can be understood a bit "loose" and it would still sound good.
I was so inspired by an arrangement of Nicolai Thärichen, who set it into a dreamy and open atmosphere. He hid the concrete rhythm and time of the tune by adding patterns every instrument of his band plays. Those patterns are also starting at different times in the bars. Very interesting, very spacy.
So from the beginning I had different patterns in mind. Something very repetitive. Adjusting the patterns for the Pad Waing. A-minor seemed a good key for my voice. So everything started around this key.
I want Jimi´s original Intro idea. Bring it to the piano. With prepared sounds, inside play etc. on an open E-7 chord. Also the transcribed/written guitar lines should be prepared to give it more individual shape. I don't want to copy, I want to reference.
Thaung Htike would play the little Glockenspiel line during the Intro.
I come back to the E-7.
Then Pad Waing takes over with the first pattern.
The first verse comes in more spoken.
In between the verses can be some time to have some "Interludesounds" from the voice.
The second verse comes in with the original chords "against" the Pad Waing patterns. At some points it clashes harmonic wise. But I decide for this little dissonance.
On the same idea, on this net of interweaving tones happens a vocal and a piano solo. Open amount of forms.
Then I start a single vocal figure to accompany the drum circle. Open solo for drum circle.
Thaung Htike decides when to get back into the last drum figure. Figures are overlapping.
Drum figure continues. Vocal line stops. I sing a last verse.
Here is the schore, the drum part (called Piano) and a recording of the schore out of the program with my musical and non-musical comments on top of it:
https://www.dropbox.com/sh/838a2pvcatixtj4/AACtWaZ6eox28K5xepdKHv3ea?dl=0
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