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With Joel (Drums), Will (Guitar), Joe (Vocals). The first week we established the basis of the song and played a simplified version. I played a simple bass line around the chords of the piece as i did not know the song well. And so for the week after we all went away to learn our respective parts, lyrics etc. When we came back we had all learned it and played it to a high standard. I played a complex bass line over the chords which involved hammer ons and pull offs, slides and chromaticism. In the "And i swear I don't have a gun" part i played double octaves with emphasis on the higher (treble) notes. The guitarist used flange effect on his guitar to encompass the sound of Nirvana and played the famous riff. The drummer played a straight 4/4 ostinato using the ride. Overall the performance went well and was a success.

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Why Do You Only Call Me When You're High - Arctic Monkeys

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Why Do You Only Call Me When You're High - Arctic Monkeys

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With Joel (Drums), Will (Guitar), Joe (Vocals). The target for the first session was to learn the song and pick out who needs to play what parts as there are multiple guitar parts and can be tricky to discern. In the first attempt it was quite successful and was close to performance standard. I played the bass line in it which is the what the song revolves around. It uses rests between notes and slides down from notes and so is an intermediate bass line and not just your plain and simple average one. The guitar played the vocal melody as a solo in the song. The drums are quite dynamic in complexity and in the end Joel plays a splash of crashes matched with snare and kick beats for a drive feel. After this first session we went away to perfect our individual parts. When coming back and attempting a second time we all had it nailed and played to a more professional standard. In the bridge i played double octaves to encompass the 'indie' feel with the deep rooted grunge. The finished product was good and so was a success.

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With Joel (Drums), Will (Guitar), Joe (Vocals). The targets for the first session upon trying this cover was to establish a knowledge of the song and a basic attempt. In the first attempt i played with a plectrum on the bass; which was not representative of the genre and style of the song. And so from this i played by finger which was an improvement made. The first run of the song was okay but lacked performance standard quality. So after this we all decided to go away and look at our individual parts for the coming week. This time was better and more coherent. For the final performance Joel played a reggae drum beat, emphasising the off beat. Will on guitar played off beat reggae style chords. While i played an interweaving bassline going from chord to chord by using mainly the key's scale (B major) but used some chromaticism because, reggae often did and even in this song Bob Marley uses a chromatic chord in his sequence. The performance dramatically increased in quality and the final product sounded very reminiscent of the reggae song and so would say altogether was a successful project.

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This week we made a song  influenced by grunge (Nirvana) which was booming around this time. The piece starts with a quiet intro where, on bass, i played singular notes bar, and the drummer played pianissimo and the guitarist played broken chords. Chords used were Dm C Bb A - Verse
Dm C Bb C Bb C - Chorus
After 8 bars we all played parts that were more intricate for example i used the Dm scale to play around and drive the piece as a grunge song is usually done. In the chorus i used double octaves to emphasise the chorus and fill it out. The guitarist played harmony chords over what i played so went up when i went down for that extra dynamic. There is a breakdown section where bass and drums lead the way. To further show our influence of grunge music. The guitar has a solo in which is reminiscent of 80's classic rock to add in another genre but maintain the era we are trying to recreate. I used quite a lot of chromatic notes when going between chords to colour the piece and make it as full as possible. At the end i play a short Dm scale but high up which enlists the mood of the piece being that of sorrow and unhappiness and do this by flaunting the minor scale.

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This week we incorporated a few styles from this era into our piece. The vocals are almost soul like which was rising in this time period.
Lyrics - Blank page in front of me
Hoping words show up on the big screen
Know what I wanna say, but you don't know how to listen.

All eyes are now on me
I guess this is where I'm supposed to be
Standing on the stage
Singing words from that blank page  x2

The piece starts with a bass ostinato, then the guitar comes in with a chordal version of what the bass is playing. I played the drums for it and came in with the snare. Using dynamics by starting off piano then gradually getting into fortissimo for the fill into the full band instrumental. Then i played open hi-hat with a funk style to it. Then as the vocals came in i played closed hi-hat to emphasise dynamics and to show that it was a different section of the song. We mainly based the song off of funk and incorporated many of the techniques used. Below is a video of what i played because; on recording the clutch broke on the drums so i couldn't play properly, so this video shows what i should have played.

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70-80s Music for Drum evaluation - Kian Irwin

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We got into groups, assigned based on instruments so that there was an equal mix. We spent a while in our group discussing what elements make up this era of music. Things such as 12 bar blues, telling a story through lyrics, being easy to dance and move to etc. We chose to play a 12 bar blues using the following structure: intro, verse, verse, guitar solo, verse, keyboard solo, verse, bass solo, outro. The guitar used hammer ons and pull offs in the intro; descending down the A major blues scale. The guitar also used slides and string bending to ornament the music. I played on the bass: a walking bass line with added chromatic notes such as Eb. This was used due to, this was the go to bass line technique during this time. The performance went well with minimal mistakes. There was vocal harmony on the words "Dance, let's dance". This was used because, in this era; they were used extensively and brought a happiness to the song which made it feel more springy and so better to dance to; as this was the era best known for dancing.