Al Di Meola - Egyptian Danza (Live in Concert, Germany 2004)

Опубликовано09.11.2018 в 16:33АвторKajim






Al Di Meola - Egyptian Danza

Because of this, I will consider each section outlined above separately. The 2-bar phrases alternate between two bars containing a run outlining a C sharp dominant seventh chord and two bars containing either a single C sharp note, or several notes encircling C sharp.

Throughout the intro, the guitar riff is doubled at the octave by the bass guitar, and the keyboard plays chords at and seconds. In these bars the keyboard plays a C sharp sus flat 2 chord over repeated C sharp-note ideas, reinforcing the C sharp dominant sound of the intro riff. The C sharp sus flat 2 and C sharp dominant chords can be heard as the tonic of the C sharp phrygian dominant mode, the fifth mode of the F sharp harmonic minor scale.

Main Theme Beginning at 0: When played initially it consists of 26 bars — 18 bars of the theme and 8 bars functioning like a turnaround — but contains only 18 bars when repeated. In this example, pairs of chords which are immediately repeated are shown only once. All of these chords, except for F sharp major, can be taken from the harmonised F sharp harmonic and F sharp melodic minor scales.

The F sharp major chord can be heard as a secondary dominant to the B minor chord played at 0: Although the majority of these chords are taken from the harmonised F sharp harmonic and F sharp melodic minor scales, during the main theme Di Meola freely uses other related scales and modes to enrich the F sharp minor sound world this too is a feature of the tune. We have already seen the use of the C sharp phrygian dominant mode in the intro melody and Di Meola continues to use it over the C sharp sus flat 2 chords at the beginning of this section.

Over the B minor chords beginning at 0: Through all of the bars containing B minor chords, however, the A sharp is used only as a lower neighbour or incomplete lower neighbour note and can therefore be heard as a chromatic decoration of the B note rather than a confirmation of that key. Composers have long been using this technique of suggesting a key by using appropriate accidentals while never actually modulating to it.

Over the B minor chord beginning at 0: Palm muting is indicated by the letters P. M on the score — see above. The B diminished chord which follows can be heard as a passing chord formed as part of the voice-leading between the B minor and C sharp major chords.

The fifth of the B diminished chord F natural unites the B diminished and C sharp major chords as it is the enharmonic equivalent of E sharp, the third of C sharp major. Over the B diminished and the following C sharp major and F sharp minor chords Di Meola uses the F sharp harmonic minor scale. It is believed that this scale may have its origins in the Middle East, which may explain its inclusion in Egyptian Danza.

Given that the descending form of the F sharp melodic minor scale contains an E natural note, connecting it with the E note of the E5 harmony, it is probably this scale which Di Meola is using.

However, by using a pentachord formed from the root note of these scales Di Meola essentially makes the scale choice irrelevant. In this way, pentachords can give melodic freedom as they can be used to create melodies which would typically need to be modified with accidentals to fit the underlying progression, or, would need more than one scale to form the melody.

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The 8 bars functioning like a turnaround begin with two 2-bar phrases which melodically use the C sharp phrygian dominant mode over the C sharp sus flat 2 bars and the F sharp 2 plus 1 scale in the bars which follow. The notes of the melody played over the final chords of the turnaround, beginning with the A sus 2 chord, can either be derived from the F sharp 2 plus 1 scale or from the ascending F sharp melodic minor scale.

Only the B major chord of this progression is found in the harmonised F sharp 2 plus 1 scale whereas, as mentioned previously, the other chords including B major can be found in the harmonised F sharp melodic minor scale.

This, perhaps, suggests that Di Meola was thinking in terms of the melodic minor scale when constructing this melody. It should be noted, however, as with the use of the F sharp minor pentachord discussed earlier, the notes of this melody use notes common to both the F sharp melodic minor and F sharp 2 plus 1 scales and avoid notes such as the fifth degree of the F sharp 2 plus 1 scale C natural which, over these chords, would need to be treated either as a chromatic non-harmony note or harmonised with an appropriate chord.

Although, over the final chords of the turnaround Di Meola may have melodically been thinking in terms of the F sharp melodic minor scale, his note choices again imply other modes and keys. The final melodic run, beginning at 1: We also saw earlier how Di Meola implied the key of B minor with the use of A sharp. Often, as here, the move to and from these temporary tonics can be an expansion of a typical progression.

For example, the move to B minor at 0: This cadential VII — I move is common in many styles of music. Accelerando section As its name implies, the accelerando section, beginning at 1: Throughout this section, the notes of the guitar melody are derived from the F sharp harmonic minor scale, with many of the ideas taken from this 9th-fret scale shape.

Throughout the passages using the A Ionian sharp 5 mode, Di Meola uses percussive muting of open strings and palm muting to further differentiate these passages from the passages centred around F sharp minor. The C sharp sus flat 2 and B major chords are each played for 8 bars while the G sharp 5 and A5 chords are each played for a single bar. It must be remembered that although all of the chords in this section are found in the key of F sharp minor derived from the F sharp melodic minor scale , Di Meola chooses to treat the B major chord as the root of the B phrygian dominant mode as this means he can use the same melody he used over the C sharp sus flat 2 chord transposed a major second lower.

However, a further two bars, consisting of the following run played over a C sharp sus flat 2 chord, is added at the end. These additional bars extend this section to 20 bars.

This E note is typically used as an incomplete neighbour note or passing note Over the B major chord, Di Meola uses the B phrygian dominant mode, and here, again, he occasionally includes the note D natural found a minor third above the root note of the mode.

Once again, the alternating 2-bar phrases are used, this time with the keyboard trading ideas. Over the final 2-bar G sharp 5 — A5 progression of this section, Di Meola plays a short melody which ascends from the note G sharp to C sharp, the third of the final A5 chord.

The Interlude section consists of 19 bars and is played over the following progression. As before, in this example, pairs of chords which are immediately repeated are shown only once. All of these chords can be derived from the F sharp melodic minor scale, although Di Meola once again also uses other related scales.

As before, throughout this section, Di Meola freely uses the notes E natural and E sharp, with the E natural typically used as a passing note between D and E sharp. This usage implies Di Meola is treating the F sharp harmonic minor scale as the main scale with the E natural used as a chromatic decoration.

However, beginning at 4: This section concludes with a G sharp 5 chord, which can be heard as the dominant of the C sharp phrygian dominant mode, and which leads the tune back to the main theme beginning at 4: Truncated Main Theme The truncated main theme uses only part of the opening progression before moving to the coda.

Coda The coda section use the following progression. Again, in this example, pairs of chords which are immediately repeated are shown only once. This progression continues the juxtaposition between the keys of F sharp minor and C sharp phrygian dominant used throughout this tune. For example, the F sharp minor — B minor — C sharp major progression can be heard both as a i — iv — V progression in F sharp minor, or, as a iv — vii — I progression in the C sharp phrygian dominant mode.

Egyptian Danza by Al Di Meola tab with free online tab player. One accurate version. Recommended by The Wall Street Journal.

It is not until the final C sharp major chord is played that some feeling of resolution in that mode is felt. Although, even here, the C sharp major chord is preceded by a 2-bar run which predominantly uses the descending form of the F sharp melodic minor scale — and therefore uses the note E natural not E sharp — this run also concludes on an A natural note suggesting a chord other than C sharp major. Despite this ambiguity, the concluding free-time section helps to resolve the tune in the C sharp phrygian dominant mode.

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Techniques and concepts used in Egyptian Danza: Percussive muting of open strings Use of accidentals to suggest a key which is not modulated into Palm muting technique Modes of octatonic scale — 2 plus 1 scale, Arabian guitar scale Juxtaposition between keys.

Because of this, I will consider each section outlined above separately. The 2-bar phrases alternate between two bars containing a run outlining a C sharp dominant seventh chord and two bars containing either a single C sharp note, or several notes encircling C sharp.


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