The positive outcome of achieving set task.

What does it look like in this module?

A good grade at the end of the year will be a good indicator of how successful I have been academically. There are also personal goals I have set, and if I achieve these goals then that will be also result in success.

Academic

1. Ask to access the song writing content on canvas, aim to write and record 1 original song by the end of term.

2. Aim to organise and attend two 1 to 1s by week 9.

   
   

Technical

3. Learn the modes, aim to use more than 1 mode in my summative assessment.

4. Learn basic major + minor chords on piano aim to provide a more detailed arrangement in the summative.

5. Hone my production skills, use Joe if necessary to help.

6. Learn Lap Steel guitar in open D tuning, incorporate this into my DAW recording.

   
   

7. Performance

8. Play 2 solos in LPW before the end of term.

9. Curate a reliable band for my live performance.

   
   

   Professional

   10. Create music themed social pages and have content uploaded by the end pf term.

• I'd like to work on a more challenging arrangement for my DAW project. I regard last year's attempt as a success and I hope to build on that through the use of automation, bussing and different recording techniques.

• Originality, I would like to write an original piece. I would also like to create a cover in my chosen genre.

• I would also like to show case my ability to be able to produce two contrasting tracks. I intend to do this through choice of tone, production value and genre.

• Using my lap steel guitar for a unique tonal quality in my DAW recording.

  Who will I be working with?

  
  

• A band for my live performance and solo with my DAW.

I was also working with two strong vocalists, so following the advice of my tutor, I decided to play a role that complimented the vocal parts.

The attached clip shows the contrast between the initial clean signal and the final reverb and delay heavy sound. The decay in the reverb pedal helps colour the tone and also covers up the unwanted silences.

Watching this back, compared to many of my other performances, my body language is quite positive.

The vibe was 'jazz lounge', and required minimal guitar, however I needed to vary my fingerpicking technique to keep the arrangement interesting.

I struggled with consistent volume and tone, some chords are much louder and played with more attack.

I added some 7ths to get a more 'jazzy sound' and set the reverb and delay to the required setting.

Onstage there was minimal communication and perhaps if I had spent time watching the drums or bass I could have been able to tighten up my performance.

Overall I deemed this a success due to how nervous I was not having a rhythm guitar. It was a good start to the term and I hope to only improve.

I struggle with this module the most, and this lesson really helped breakdown 7th chords and how to find them, the same with 6ths etc.

my takeaway from this lesson was to practice the 7th chord shapes e.g maj7, dom7

I don't think I will use vocal sampling however I could use programs like Moises to isolate a drum beat for my DAW track. I could then alter this in the production process.

It also shows that proper practice leads to confidence, which overall leads to a better performance.

Coordination and socialising more with potential bandmates will also lead to a stronger unit and could result in a better overall result.

If I were to improve it, I would add more time in a studio i.e small pond with a band however I intend to spend more time in the studio towards the tracking and recording of my summative performances.

what I focus on: minimal finger pressure, alternate picking technique and breathing.

I will run these at ascending speed until I can't play the notes fast enough.

I practice these on different pairs of strings. These exercises help me familiarise finger positions and encourage me to move up and down the fretboard more, rather than laterally

I like the heavy open D 'delta' sound and I look forward to exploring the tonal qualities of the instrument.

Looking back at this, these are the notes and bits of personal feedback I have for this performance.

• Still hiding behind the speaker stack! On stage it feels as if I am exposed to the crowd but I must make more effort to highlight my prescence.

• The performance is littered with mistakes, some parts are very sloppy but some parts like the time signature change came together really well.

• When soloing I need to take more of a centre stage approach, when playing with the rest of the rhythm section i need to move around more and look up. JonJo on stage right is providing an actuve performance and I can learn from this.

• In terms of the technical aspects, I used the volume pots to control the dynamics of the verse vs the solo. I also started tremolo picking which is something i never do, but it shows that live performance can spark creative things in me when I feel in control.

• Overall I really enjoyed this performance and I would happily incorporate it into a live setlist.

Here is a short dorian improv. It adds another melodic dimension to a solo and it also adds interest, helping break out of repetitive pentatonic licks

I am not sticking to the practice routine in its linear form however I am still doing daily work on it. I am trying to explore 1-2 lessons from Sam's book a day.

The practice for the LPW class takes up more time than anticipated, and tuesday evenings are valuable because I can work on what was recorded in the rehearsals.

I haven'r progressed with the lap steel as quickly as I'd hoped.

SMARTs?

I would argue that I am making progress on my SMART targets albeit slowly. I now have access to the songwriting content and I will be exploring rudimentary song structures and potential ideas for vocals.

I also have a 1 to 1 booked in for development week.

As of week 2 I have also played a solo in LPW and I hope to smash this target and continue with my lead playing.

DEV DIARY:

I was not thorough enough, too much description and not enough analysis.

I could have done more on safety, more SWOT and GIBBS reflective cycles.

competent 10 week timeline (currently in progress for this module)

Better formatting of padlet diary.

More on prod tools, tech dev and the recording process in general.

More check ins/reflections

Performance:

Need to improve on the dynamic shifts of my live performance.

improve overall quality

More Stage presence - eye contact

DAW

Authentic Replication

More dynamic range

Improve EQ especially bass, let it sit in the mix more

This track is centred around the I chord. This limitation meant being very expressive and making sure that I varied dynamics and techniques as the track progresses.

I was playing finger style, really trying to create a twangy telecaster sound.

I am also consciously trying to be more active and move around as I play.

There is also an improv solo which I then worked on in the evening.

Working with Alfie was great and it ispired me to be more commanding on stage, and also having fun helped.

Looking back at this the first thing I noticed was the relaxed fewl in the verses and then the dynamics gradually increasing as the performance went on.

I also spent more time looking around at other bandmates, trying to make sure that I was playing in time.

Movement is better and there was an attempt at call and response with alfie before we were cut short by the breakdown section. Small improvements every week!

Things to work on: Need to bring my guitar up into the mix more as it is sitting low and a bit muddy in the mix. I also still need to work on facing the audience more, showing them what I'm playing and engaging with them more.

For my DAW performance, I intend the production value to be quite high. Using tools like Flex in Logic will help me remove any unwanted small noises and clean up the entire mix.

I am thinking at this stage about multi-tracking some of the rhythm section to beef it up.

• started with the intro to Bring it on Home ala live at Madison Square.

• Playing Rhythm but really struggled with the riff!

• Decided to work an octave higher than the lead in some sections to provide some textural variety.

• I found it tricky working with the timing of the track as we were messing with the tempo.

• Harder to see what I am doing but there seems to be some head bobbing and movement towards the end and some on-stage communication.

• Due to the challenging nature of this week's track, my focus was on just getting through it and trying to add some variation by changing the arrangement slightly in sections.

• This week was meant to challenge us and my confidence is very low concerning the opening riff.

• no video for this week

• Everybody is struggling with the timing issues but we are trying to extend the breakdowns, giving the singer full control over when the riff comes in again. Hopefully the performance will demonstrate this.

• In the process of accessing the song writing material.

• Working on the initial stages of an original piece however I am leaning towards the idea of an instrumental. Lyrics could be too much of an undertaking at this stage, this allows me to focus more on tones and textures.

• Trucking akong with the modes with Sam Bell.

• Haven't started with the piano yet.

• Continuing with production skills.

• Slowly starting to learn some blues style licks on the lap steel.

• I have asked a few people what their plans are for the summative assignment but it seems to be early days to be getting a full band together - I also still don't know what I want to perform yet.

• No progress on socials - I still feel I don't have anything to offer yet.

• reliable

• aesthetically pleasing

• something that excels in its field e.g. a quality instrument is well made and provides a sound and playability above others.

• Versatility, a quality product can be used in a variety of conditions and settings.

• Historical legacy can play a big part in people's perception of quality.

Product study:

Fender Telecaster - is it quality?

• An argument supporting this would be the unchanged shape of the instrument. Aside from a few cosmetic changes, the telecaster has remained the same shape for 72 years.

• Part of its quality comes from the simplicity of the original design; a cutaway to aid with tackling the upper registers and bolt on neck for easy adjustment.

• I would argue that the telecaster is a quality instrument however it is not perfect - the intonation isn't great and other guitars offer more tonal options but I feel that if you are in the market to buy a quality telecaster, you have to accept these general 'faults'

Does perfectionism hinder me?

• I had trouble finalising last term's DAW mix because I couldn't leave it alone.

• I spent way too much time comping the guitar parts.

• I often put things off if I feel I can't do them to good enough standard.

• I have been slow picking songs for my assessment as I'm worried about not being able to perform them to a good enough standard.

How do I combat this?

• Accept failure! Failure leads to quality if you work on improvement.

• Consult peers and teachers for advice.

• Take time out and come back to projects that are causing problems.

How do I add quality to my pieces?

• Add different modes in to cause interest

• Solid technique

• Stage presence

• Production value - overdubs, sonic pH

I really like the funky nature of the riff and I will use this as a reference for my DAW, possibly using a guitar instead.

Definitely plan to revisit this at some point.

• Added slapback delay for the performance.

• Only one guitar part so I had to be extra solid.

• Still hiding behind that bloody speaker but attempting to move into centre stage.

• Looking up and around at band members.

• good energy + the stabs came out great in the chorus.

• Almost nailed the solo but I'm really pleased about how it came out.

• Peer feedback - everybody said it was the first time they had seen me start to come out of my shell. This opeer feedback is greatly appreciated and is helping fortify my confidence as a player.

• Felt really good about the whole performance.

• Still sloppy playing in parts.

• Heavy Beatles influence - intro in the style of Back in the USSR.

• 60s style raking in the verse.

• fast and loose style

• still struggling with chords and structure at this point.

• stabs in the chorus to create tension

• solo was a pentantonic improv - need to work on this!

• Peer feedback - everybody said it was the first time they had seen me start to come out of my shell. This peer feedback is greatly appreciated and is helping fortify my confidence as a player.

how am I going to use automation? synth chords lap steel?

I struggled with the dynamic of my last DAW project and so using automation can give me more control over volume swells and dynamics in general.

Live?

• looking at Begin Here by The Zombies

• Another Peter Green Fleetwood Mac piece.

• I have used African Style drums and also Fake Machine+ for intrigue. I am yet to decide whether or not I want a regular drum kit in there as well.

• I will continue to change these rhythms, taking out sections where I intend to add a break or change.

• I am also considering overdubbing some cymbals toward the latter end of the track for another layer.

  
  

Synths:

• I have tried to create a sonically 'cold' sound to offset the heavy bass synth that accompanies it.

• There is a drone-like quality to the synths that is directly influenced by the sitar; I believe it adds mystique to the track and I will try to maintain it throughout the track if it works.

Guitar:

• Singular telecaster being used.

• I settled on the mixolydian riff after jamming over the bass line I took from splice.

• I then doubled up the parts an octave higher. This is reminiscent of Peter Green and George Harrison's music and I feel drawn to the idea of guitar harmony.

• Heavily compressed, mid heavy guitars with a small amount of reverb. I feel the mids of the guitar fits well within the sonic range of the track.

• I am going to continue to experiment with the bass line and see if I can come up with any more useuable hooks.

• I have also multitracked the guitar parts and panned them left and right respectively.

Bass:

• I love the bass line and I feel it drives the track. My only concern is that I don't know how to move on from it.

• Do I transpose it to another key?

• Do I chop it up and try to create anther hook out of the existing line?

• I spoke to my tutor Joe and he suggested that we centre the song around the bass line, jamming around it and then create some break sections that don't have any bass parts.

Production tools:

• I have only started mixing this in a basic way.

• I need to add reverb to the drums

• Guitars are compressed

• Starting to experiment with dub delay on some of the slide parts.

TO DO:

• Increase the complexity and sonic thickness of the percussion sections.

• More guitar hooks

• Bridge section

Using Moises I managed to create a backing track of the original version sans guitar. I then did some research and laid down a demo of 'Polythene Pam/She Came in Through the Bathroom Window'.

I then spoke to a few friends on Whatsapp and got a resounding yes!

• My potential vocalist is very familiar with the lyrics.

• Benji (drummer) also knows the bass part - ideal!

• I just need to organise a rhythm guitarist and a drummer.

• It is imperative that this band solidifies and becomes a well practiced machine by the time of the assignment. One of my SMART targets is to ensure that I have a reliable band for the summative as last year I was left without a bassist + rhythm guitarist for the end performance.

I am still considering other options e.g. The Zombies however I feel this is the right thing to submit for my formative.

Five tracks that are on repeat this week:

The Smile - Teleharmonic

• Synth lead into slightly dissonant and flanged

• heavy reverb on the vocals

• I really like how the bass line comes in through halfway and dominates the second half. I can see simalarities between the bass line in my DAW.

Bruce Kaphan - Country & Eastern

• Ambience and space, using the pedal steel in unconventional ways.

• Blending of eastern & western genres, something I am trying to do with western & african music.

• Instrumentals drenched in reverb creating lush sonic landscapes.

Massive Attack - Blue Lines

• Love the simple keyboard work

• funky bass and palm muted funk picking - slightly dissonant

• Big booming kick drum, trip hop beat contrasting a traditional funk.

• I don't think i'll be using any spoken word but I do like their casual style of rapping.

David Sylvian - Nostalgia

• big david sylvian/japan fan!

• Menacing synths dominate the track

• massive wall of sound style production

• sparse & interesting percussion - lots of rimshots and cymbals driving the upper frequencies.

• Simple guitar work that fits into the track rather than dominates it.

• clean 80s style chorus effect.

Electric Jalaba: Daimla

• Tunisian style music from a london collective

• dub style effects similar to ones I am intending to use.

• African influence

• I am toying with the idea of sampling but not confident due to fears that a sample could make the final piece 'cheesy' or turning it into a pastiche of african music.

• Dissonant fuzzy guitars with heavy delay in the in bridge section.

I spent the evening trying to come up with a semi-improv solo for the next morning.

I didn't get any evidence of the next stage but I really tried to figure out how I could personalise this performance and I ended up trying to use the 7th note for a bluesy beatlesy feel. I ended up playing the Day Tripper riff over the changes in the solo and also added some chromatic links between descending chords.

• Book sessions with band

• Work on the bassline / chop and change

• Write up

• flesh out timeline

• write some new licks

A big part of making music for me is connections, I feel that a piece of music could be a medium to safely convey feelings without being too overt and direct. It will bring me a connection to the world that I may be currently lacking.

e.g. If I can replicate an iota of the connection I feel towards my musical heroes, it will be a real encouragement to keep on doing what I am doing.

I also need a creative output, I have been working full time for the last 8 years or so without any creative outputs, spending my evenings watching TV or going out drinking. Having decided to pick up the guitar again I had an output but the next step was keeping up with practice.

Releasing an LP/EP would be a fantastic opportunity to prove to myself that I can start and finish daunting projects, seeing them through rather than abandoning them at the first sign of difficulty. Needing to commit and follow a project through to the end is more of a personal goal.

I've also struggled with mental health issues over the years and it would be a great achievement for me and I also feel the need to make my family and friends proud, showcasing the changes I have had to go through over the last few years.

Often, anxiety surrounding perfectionism and deadlines will motivate me to work harder and will put me under enough pressure to focus me.

Feedback from last term LO2, LO3

Defining Success

SMARTs LO2, LO3

Initial Thoughts

PRE PROD LO2, LO3

Performance LO3

PROD TOOLS

Week 2

SWOT LO2

Personal Practice Routine LO2

Practice Evidence LO2

Lap Steel Jam LO2

PRE PROD LO2, LO3

TECH DEV LO2

CPW Performance LO3

Week 3

Project Proposal LO2

Action Plan LO2

PRE PROD LO2, LO3

CPW LO3

TECH DEV LO2

PROD TOOLS LO2

My Tracks LO2, LO3

Week 4

CPW LO3

PRE PROD LO2, LO3

SMART check-in LO2

Quality vs Quantity LO2

TECH DEV LO2

PROD TOOLS LO2

Track Updates

Week 5

CPW Performance LO2, LO3

Solo improv Practice LO2

Rehearsals LO2, LO3

Performance Feedback LO2, LO3

PROD TOOLS LO2

TECH DEV LO2

Track Updates LO2, LO3

Development Week

DAW Rundown LO2

Live Demo LO2, LO3

Current Influences LO2

Academic 1to1 Review LO2, LO3

Next Steps LO2, LO3

Weekly Gibbs LO2

Week 6

Influences + Research (DAW + Live) LO2, LO3

Weekly Gibbs LO2

Daw Update LO2

Next Steps

Week 7

Needs + The Why

Feeling Stagnant LO2

Procrastination Quiz LO2

To Do: Summative LO2, LO3

Paramore Rehearsals LO2, LO3

Paramore Performance LO3

Paramore Feedback & Analysis LO2, LO3

PROD TOOLS LO2

Beetlebum First Rehearsal LO2, LO3

Weekly Gibbs LO2, LO3

Week 8

Master Blaster Rehearsals LO2, LO3

Master Blaster Performance LO3

Personal Practice Routine Update LO2

SMART Target Update LO2, LO3

PROD TOOLS LO2

DAW Update LO2

Weekly Gibbs

Week 9

Active/Passive Listening LO2

Live Performance Track Analysis LO2, LO3

DAW Track Analysis LO2

First Summative Rehearsal LO2, LO3

First Rehearsal Feedback LO2, LO3

Second Rehearsal LO2, LO3

DAW Update LO2

Weekly Gibbs

Week 10

Reflection LO2, LO3

Final Rehearsals LO2,LO3

Additional Performances LO2, LO3

• I can focus more on the performance aspect itself (tone replication, stage presence, possible vocals) rather than having to worry about the composition itself being sound.

I decided to go with something off of Abbey Road because I really enjoy the album and also I think it would be fun for a band to recreate on stage.

Other contenders: I can't make up my mind by the Zombies and Richard Corey by Simon & Garfunkel

There is a balance of lead-work and chords in both pieces and the piece will give me a chance to work on dynamics - something I need to improve on from last year's performance.

The lyrics of the two songs are based on an old 'cavern days' Beatles fan and a fan breaking into Paul's upstairs apartment respectively (Macdonald, 2008)

To get to George's guitar tone, I spent time relistening to the original recording and tried to work out what effects were used and how I could recreate them.

I will be using the Strymon DECO pedal to help me with the tone. It is a tape double tracker pedal with a tape saturation and also a 'wobble' (slight out of phase tone). I can get the slight slapback delay heard in the original recording from this.

I will also be using the Lester G rotary pedal but I'm not entirely sure he is using a rotary speaker in the original rec so I may drop it.

From watching the Let it Be footage I know that George was using his rosewood telecaster & Les Paul (Lucy) around this period. I will be using my telecaster as I prefer its top end for the lead parts. John also plays a 12 string guitar however I have a feeling my version will have a standard acoustic.

I also know that The Beatles were using newly acquired Fender Twin combos at this time, and I will be practicing with my Fender Deluxe Reverb however I believe the performance venue has Supro & VOX amps. I will opt for VOX due to the ties to when The Beatles were using their products in nearly all of their previous material.

Next I need to research into how I am going to learn the parts.

Initial notes: position 5 E minor Pentatonics, make sure I change my pickup selection between the chords and the lead lines.

https://www.youtube.com/results?search_query=she+came+in+through+the+bathroom+window+beatles+guitar+lesson

This is what I am using for the second track, this video has more explanation and guidance.

Initial notes: Master the timings of the hammer ons and pull offs in the verses, figure out the descending run 'sunday's on the phone to monday'.

I've been listening to Bruce Kaphan and his work with the pedal steel. I am focusing on his music to help me use space & ambience with my lap steel guitar.

Massive Attack are also influencing me at the moment and I will look to them to provide inspiration for an electronic edge to the piece (drum pads, sampling)

I also listen to a lot of world music, I have used some basic african style percussion but I will look to artists such as Electric Jalaba, Tony Allen & Fela Kuti to try and draw some world music influence.

I don't necessarily want the track to be an African piece however I would like to input aspects (like percussion) to help with the interest & intrigue of the track.

• continuing with live performance practice

• book small pond

• research beatles

• Funky tele style tones for this

• trying to complement Bobby's hard rock treble pick up sound. How am I best going to play for the track?

• slapback delay

• things to work on, funk strumming, tremolo picking SOLID RHYTHM SECTION

Things I wanted to work on:

• timing

• strumming patterns

• stage presence

I think my job here was to play for the song and the singers, I never felt the need to try and sneak in an inappropriate guitar solo, rather give them a solid platform to sing from and give them confidence in the arrangement. Not every song in a setlist needs to have electrifying lead lines and solos...

• Strong rhythm section, I really wanted to showcase a consistent strumming pattern. Tight with drums and chord changes are clean and on time.

• Almost call and response style with the lead guitar tones.

• Vintage slapback tones

• I was still hiding behind the speaker!

• Still the usual sloppy errors

• I improvised by adding in a chord, I think it was a mistake during rehearsals that I rolled with.

• I will look to use 'mid EQ' in the percussion section of my DAW track. I am planning to use multiple types of drum, i could remove some of the mids on one kit and keep the highs, letting the midrange of another kit come through.

• Mid/Side EQ great for EQing individual instruments in an arrangements

• Low End control - I have a bass guitar and bass synth that I need to keep an eye on, especially in the sub-bass frequencies.

For this track I am just playing the acoustic parts in the verse, chorus and outro. One of the reasons I agreed to this was the simplicity of the piece, allowing me to focus on the other performances + my DAW without stressing too much on this.

things to note:

• feedback issues so used my tele

• keep volume levels lower than lead

• added some reverb to sink it in the mix more

• timing between verses

• Difference between rehearsing solo + with band

• I love being in the rehearsal/studio setting

Analysis:

Scott the drummer took control of this one and we ended up doing a heavy version.

I tried out a heavier style and worked out a simple riff for the verses.

We really struggled with tempo and dynamics with this one - I think we were a bit too ambitious with this but it was the last track of the year.

feedback from assessors: COMMIT! Crank it up! added bass guitar for better structure.

• I am slowly creeping out from behind the speaker and into the centre of the stage.

• Could look up and face more to the crowd

• Right hand picking technique looks better.

• Solo was okay but all improvised, maybe too many bends

• was good fun to play with some overdrive on the bridge pickup.

• timbre

• tone

• pitch

• sonic texture/pH

• key/chord structures/resolution

• lyrics

• swells in tempo/volume, general dynamic changes

• harmonic rhythm

Task: Passive listening to The Shins - Passive Limb whilst drawing. I drew a picture whilst passively listening and I picked out these things:

• Harmonies in the BVs

• Jangly guitar, major triads

• indie alt sounding

• Big drum sounds

• siren-like hook

Actively listening:

• fuzz/buzz guitar effect

• double tracked vocals

• lots of reverb on the percussion, tambourine

• rotary speaker sound

• hammond organ in the bridge

• hooks in the outro possibly on a tele/gretsch

I am currently learning all songs off of YouTube and once I am comfortable I will start playing along with backing tracks/spotify.

I am also now playing more in rehearsal settings which is great as I find playing with others an invaluable learning experience. I try and record every session and then watch back for feedback and parts to work on. I usually spend an hour warming up at home beforehand using the excercises from the routine - chromatic warm ups, pentatonic runs etc.

I don't need to input any practice for LPW anymore as I'm finished and regretfully I haven't put in the time on the lap steel like I said I would. I still plan to use it in my DAW however I plan to change the tuning and try learning it when I have more time over summer.

It's safe to say that I'm not following the schedule as closely as anticipated but I still feel that even though my practice is unorganised, I am still getting what I need done. Chopping and changing between the different songs is helping break up the repetition of the Blue angels riff I am struggling with.

Academic

• I managed to access the song writing material from Water Bear however I haven't looked at it extensively yet. This is something I can focus on over summer when I have more time.

• I have only had the one 1 to 1 meeting however the meeting I had planned with my production tools tutor was essentially carried out in-lesson so we cancelled the 'official' 1 to 1 session.

Technical

• I have been studying the modes over the term and have ended up using the mixolydian mode in my summative piece.

• I have neglected to learn the basic chords on piano, I think this was maybe too much of an undertaking with learning the lap steel as well.

• My production tools are definitely sharper, I have more in depth knowledge on things like automation but I can always keep going. I am hoping to work with Joe Newman over summer.

• I also haven't spent much time learning the lap steel in open D. I will give this a proper go over summer and I am thinking of changing the tuning to C6 due to more teaching resources available and overall versatility.

Performance

• I have played two solos and I have enjoyed the challenge. Target achieved, onwards and upwards.

• I have also curated a reliable band like I hoped - rehearsals are starting very soon.

Professional

• I haven't made any movements into setting up socials

• I have been inspired to take up photography again and I could potentially monetise this.

The image in the above panel is my revised SMART targets for the end of term and beyond.

I've managed to lose the original Wurly stem but I plucked the chords with some heavy reverb and tremolo to achieve a washed out sound, directly contrasting with the tightly compressed guitars in the previous sections.

I created the sound using the lap steel and I'm thinking about using a similar tone for the bridge section.

• medley, originally recorded ensuite. Part of a larger medley.

• E major into A major.

Instrumentation:

• 12 string guitar, lead electric guitar, bass guitar

• electric piano

• drums, tambourine, maracas and cowbell

Production:

• George Martin produced

• Geoff Emerick & Phil McDonald engineered

• guitar overdubs in the middle of the track

• Lennon & McCartney's vocals are both double tracked

• Retro 'live/Cavern days' feel to Polythene Pam

Tempo & Time Signature:

• Both in 4/4

• Polythene Pam 167 bpm

• Bathroom Window 162 bpm

Rhythm:

• 'pseudo-samba' style drumming REF

• tambourines, maracas & cowbell also used

• shift in drumming style to a more conventional style in the second part.

Lyrics:

• Anecdotal, Polythene Pam was based on Polythene Pat, a fan from the early days with an affinity for thermoplastic REF.

• Bathroom window was based on a yung female fan breaking into Paul's bathroom and stealing a photo of his dad REF.

Genre:

• Arguably their own genre!

• Classic Rock, 60s, beat music

Texture/Dynamics:

• Vintage feel, slapback delays

• Beatlesque classic vocal double tracking

• Rock and Roll big chords into more complex lead lines

• Conversational style guitar call and response with the lyrics of Bathroom Window

Arrangement/Structure:

• Ambient intro followed by an 'a' section that I plan to reuse throughout the track.

• Still working on a bridge section.

• Key of D minor

Instrumentation:

• Telecaster

• lap steel

• Logic Drums

• Synths

• Sampled Bassline from Splice

Production:

• Aiming to use vintage style compression.

• Trying to create space and ambience in the mix.

• Utilising guitar harmonies for a unique tone.

• Utilising techniques like dub delay, reversing, time stretching.

Tempo & Time Signature:

• 4/4

• 90 bpm

Rhythm:

• African Style percussion with a conventional kit

• 'overdub style' cymbals

• Interesting Logic kit called 'Fake Machine+' that adds some unconventional rhythms and tones

• Breaks in percussion for bridge section.

Genre:

• Alternative/World?

Textures & Dynamics:

• Cold synth lines

• Warm, compressed guitar leads

• Driving bass riff

• Mysterious Feel from the mixolydian mode combined with african style percussion

• We were without a vocalist and that really tripped us up with the structure.

• I think the rotary pedal is a bit much so might get rid of it and stick to using the double tracker pedal.

• I was really struggling to get the timing right with the first solo.

• Playing still quite sloppy but expected at rehearsal no.1 take 1.

• It was really helpful having Benji there MDing.

• There is a run I need to work on 'sunday's on the phone to monday'

• Solo needs more work

• Movement and presence is much better + confidence

• Communication between band members is great and everybody seems happy with their parts.

• Lucy suggested that as a stylistic choice, we could have a singular microphone in the middle and people could come in and sing. Reminiscent of George joining Paul to sing harmonies. I like this idea as it brings an energy to the performance. Not sure any of the others apart from the vocalist are happy to sing.

• Need more work on the structure - this will come with more practice, again communication is clear between us and everybody knows what they need to work on in order to tighten up the arrangement.

• Looking forward to the SmallPond rehearsal on Thursday for a chance to practice with vocals.

• More energy in the performance due to being more confident in the arrangement.

• Guitar levels are good, nice boost for the lead lines.

• The hammer ons and pull offs sound much better in the verse of 'bathroom window'.

• Still struggling with the 'sunday to monday' lick but managed to nail it at the end!

• Still need to sharpen up some of the parts

• Still need a rehearsal with a full band present!

• I struggled with my guitar levels in the performance. I need to work on a boost and which pickups I am going to use for which sections.

• This is my first time singing into a microphone following on from Lucy's advice last week.

• Felt very nervous but happy to be singing and playing, something that I've also not done much of.

• Trying to sing whenever I can remember and also whenever I don't have to focus on the guitar parts too much.

• We have seperate microphones here but I still think we should hover around a central microphone ala Paul & George.

• Unsure on which octaves to sing in but we can work on that.

• I need to work out how much of my guitar playing abililty will be sacrificed if I decide to shift too much focus on the vocals. This is after all an assessment on guitar rather than vocals. I do however understand that it adds to the style of the performance.

• Sam's feedback on 'digging in' more to create a livelier, heavier feel was helpful, especially on Polythen Pam, Will's vocals could be snappier and almost characateur-like. I will try and add to these when I come in for my vocal parts.

• Terry's feedback also carries this notion on, focusing on the 'character' of the performance e.g. when we swap James's Strat for an acoustic when we perform the summative.

• A 12 string guitar would have been amazing. If I were to perform this again I would try my best to get one as it gives it that archetypal 60s feel/character/sound

• We found it difficult to play without a bassist

• Really enjoyable challenge trying to learn the B section.

• Some structural issues due to the missing bass parts

• This song is currently the most practiced out of the three live songs.

• Really enjoyed playing lead work - if I look back to Last year, it is really encouraging to see how I went from struggling through the weekly performances to now being asked to play lead on other people's assessments.

• Mixed emotions about the track as it's fun to play and very catchy but the riffs are quite frustrating.

• I have simplified the 'A' section riff slightly to make it more playable but I will try my best to recreate the original for the summative.

• For this track I really wanted to help Jack get a funky feel for the guitar work so I went and bought an envelope filter pedal - this is great fun to use and I can get a variety of tones out of it. I plan to use this in my DAW too.

• For this performance I am using the HPF setting, with medium gain.

I'm not certain i'll stay in this tuning but I headed to YouTube and found Matt Bradford.

His lessons are dynamic and concise - his ideology is to get playing straight away rather than start with scales.

The content in his first lesson covers how to play a jam similar to the jam I did back in week 2.

The lap steel is tricky to begin with, muting is essential in both picking and sliding hand to ensure clarity between notes and phrases.

I think this will be a great tool for adding ambience and also a bit of colour to the highs.

• For my DAW project I would like to use a variety of different instruments to create a studio quality recording.

• Wurly, lap steel, multi-tracked guitars.

• I also like using vintage compressors where I can to add colour if needed - Logic vintage VCA most likely.

• My live version will be more rough and ready aiming to catch the spirit of live performance.

• Less instruments / more stripped back for the live performance.

• The DAW will be an original composition and the live version will be a cover - fleetwood mac, zombies, beatles.

• I will play all stringed instruments and synths in my DAW and use logic drums / programmed drums.

• I will only be playing lead guitar in the live performance.

• Live performancde will have vocals, DAW will be instrumental.

Matt is an excellent bass player who provides a solid foundation for me to work off. very handy when I slip up with the B section riff!

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Beatles, The . Day Tripper. Parlophone, 1964.

Bradford, Matt. “Matt Bradford - YouTube.” Www.youtube.com, 2024, www.youtube.com/@MattBradfordmusic.

Chris Gill. “The Beatles’ Get Back Gear: A Guide to the Guitars and Amps Seen in Peter Jackson’s Long-Awaited Documentary.” Guitarworld, 28 Oct. 2021, www.guitarworld.com/features/the-beatles-get-back-gear.

ike. “The Beatles - Polythene Pam Guitar Cover with Tab.” Www.youtube.com, www.youtube.com/watch?v=HbV2FFbHLPw&t=13s. Accessed 15 Apr. 2024.

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Kaphan, Bruce . Country and Eastern. Hearts of Space, 2001.

Macdonald, Ian. Revolution in the Head : The Beatles’ Records and the Sixties. London, Vintage, 2008.

Popkin, Sam. “Polythene Pam/She Came in through the Bathroom Window- the Beatles (Guitar Cover) Abbey Road Medley.” Www.youtube.com, www.youtube.com/watch?v=uBh6yaJg0Jc. Accessed 15 Apr. 2024.

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