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Boston Foreplay on a Lowry Prestige


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I had always thought of course the intro lick is the Bflat, Dflat Eflat and F arpeggio...But I never noticed...at the same time that arp is playing- what's with the notes going A flat- F back and forth????? Is this an overdub? Or does Tom play those on the second manual? Problem is if you do those notes as well- then you can't do the descending line on the intro. Hmmm

 

I'm not following your dilemma. The decending line is an octave below the opening right hand pattern.

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http://www.retrosynth.com/~analoguediehard/studio/keyboards/hammond_xk3/foreplay-1.jpg

 

Hmmm..... I just happen to glance through the transcription. I learned this by ear and for some reason I hear the last two notes of the triplet in measure 7 as being reversed. I play those notes as Ab, C, Eb.... a definate reversal from the decending pattern.

 

edit; nevermind.... went back and listened to the album, the transcription is correct.

The above transcription is pretty good. However, I do hear the descending line differently as shown below:

 

http://s1.postimage.org/6kcveluwf/Foreplay_intro_descent.png

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Yes, and I'm not talking about the descent.

 

I've decided the F and Aflat playing during the intro is an overdub (or the descent is). The A and F can be played on the second manual. Tom's a master of overdubbing stuff.

 

I'm still missing what your saying. Look at the first measure of Mike's transcription. Are you hearing different notes?

 

 

 

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The above transcription is pretty good. However, I do hear the descending line differently as shown below:

 

http://s1.postimage.org/6kcveluwf/Foreplay_intro_descent.png

+1

 

This is how I hear/play it as well.

"We don't stop playing because we grow old; we grow old because we stop playing."

- George Bernard Shaw

 

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Yes, and I'm not talking about the descent.

 

I've decided the F and Aflat playing during the intro is an overdub (or the descent is). The A and F can be played on the second manual. Tom's a master of overdubbing stuff.

 

I'm still missing what your saying. Look at the first measure of Mike's transcription. Are you hearing different notes?

 

 

 

Everybody can hear the arpeggio on the opening seconds of this song and I can too. But during the intro arp in the first measures, there are two notes going back and forth, going Aflat to F. Sorry I wrote A on mistake. I never heard those notes until starting to go over this a couple of weeks ago. I'm sure Tom doesn't play those notes live, (and nobody else can) because there is no way to play the Aflat and F and the main arp and the descent at the same time. That's why I say it's an over dub. I'm using the remastered version, where you can really hear everything perfectly.

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Everybody can hear the arpeggio on the opening seconds of this song and I can too. But during the intro arp in the first measures, there are two notes going back and forth, going Aflat to F. Sorry I wrote A on mistake. I never heard those notes until starting to go over this a couple of weeks ago. I'm sure Tom doesn't play those notes live, (and nobody else can) because there is no way to play the Aflat and F and the main arp and the descent at the same time. That's why I say it's an over dub. I'm using the remastered version, where you can really hear everything perfectly.

Nonsense...there are no overdubs here. With a little practice, this isn't a difficult line to play. If you're still in doubt, do a YouTube search for Boston's live version (or instructional version) and you'll see (hear) for yourself.

 

 

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http://www.retrosynth.com/~analoguediehard/studio/keyboards/hammond_xk3/foreplay-1.jpg

 

Hmmm..... I just happen to glance through the transcription. I learned this by ear and for some reason I hear the last two notes of the triplet in measure 7 as being reversed. I play those notes as Ab, C, Eb.... a definate reversal from the decending pattern.

 

edit; nevermind.... went back and listened to the album, the transcription is correct.

The above transcription is pretty good. However, I do hear the descending line differently as shown below:

 

http://s1.postimage.org/6kcveluwf/Foreplay_intro_descent.png

 

The above transcription is pretty good. However, I do hear the descending line differently as shown below:

 

http://s1.postimage.org/6kcveluwf/Foreplay_intro_descent.png

+1

 

This is how I hear/play it as well.

 

yep.... that's what I hear.

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Ok ..I hear the guy on the Lowry doing the part and Tom doing it live. I take my words back, it can be done, I guess I have some work to do then. Sometimes learning stuff is such a struggle. Thanks guys.

 

just learn it slow with iron clad fingering, then gradually push it up to speed.

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Yes, to Bern and Sven:

 

I caught the mistakes when listening to the studio album.

 

For whatever reason I was having mental block on this song, so this just helped me along.

 

Oh, and way to keep it classy, Sven. Don't you have a newbie to run off somewhere in this forum? :poke::rimshot::wave::thu::D

 

Did I put enough smileys so others know it's just a joke ?? Seriously, Sven in one of the more helpful people on KC.

David

Gig Rig:Casio Privia PX-5S | Yamaha MODX+ 6 | MacBook Pro 14" M1| Mainstage

 

 

 

 

 

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  • 7 years later...
Yes, and I'm not talking about the descent.

 

I've decided the F and Aflat playing during the intro is an overdub (or the descent is). The A and F can be played on the second manual. Tom's a master of overdubbing stuff.

 

I'm still missing what your saying. Look at the first measure of Mike's transcription. Are you hearing different notes?

 

 

I found this thread about eight years too late. Is "Mike's transcription" in this thread somewhere? I'm not seeing a link.
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I found this thread about eight years too late. Is "Mike's transcription" in this thread somewhere? I'm not seeing a link.

 

"The website you have dialed is no longer in service. The new website is"

 

http://analoguediehard.com/studio/keyboards/hammond_xk3/foreplay-1.jpg

 

http://analoguediehard.com/studio/keyboards/hammond_xk3/foreplay-2.jpg

 

 

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The old threads are the best threads, aren't they? Sure they are!

Muzikteechur is Lonnie, in Kittery, Maine.

 

HS music teacher: Concert Band, Marching Band, Jazz Band, Chorus, Music Theory, AP Music Theory, History of Rock, Musical Theatre, Piano, Guitar, Drama.

 

 

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  • 2 weeks later...
This song will always make me mad. I put hours into transcribing, learning, and getting it up to speed, I really think I had it dialed in, even the downward progression. Anyway, I come to rehearsal, and NO ONE else had bothered learning it. Then after trying to jam it out, the bass player veto'd it on the grounds it would be "too much work for too little payoff". I love the guy, and he's usually the smartest one in the group, but I disagree with him there and I'll never quite forgive him for that.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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That's because there are assholes that never want to learn anything so they come up with excuses like that at practice. Too little payoff is a lazy excuse.

"Danny, ci manchi a tutti. La E-Street Band non e' la stessa senza di te. Riposa in pace, fratello"

 

 

noblevibes.com

 

 

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Alright, so I play it slightly wrong in a few spots! Have come back to it and continued to tweak it as it's come up in different cover bands over the years, and sometimes I go back and forth between choices as I consult between my ears, on line tutorials, transcriptions, etc, and anyway I do have it pretty close and it sounds good and always goes over great! Some of the arpeggiated triads I might be getting the order or direction of wrong, in some cases after trying what might be the right way but just finding it easier to execute with a slight modification and it still fits in and sounds good. Laziness I guess.

 

My version for your amusement:

intro riff: Dd-F-Db, Eb-Db-C

 

"verse" main riff:

Db-F-Dd, Eb-Db-C, F-Db-Ab, Eb-C-Ab

F-Db-Ab, Ab-Eb-C, C-Eb-G, F-C-Ab

Eb-Bb-G, F-Dd-Ab, F-Bb-Dd (up from bottom), Eb-Bb-G, [F-C-Ab]x4

 

verse last line:

Dd-Bb-F, Eb-C-Ab, Dd-Bb-F, Eb-C-Ab

F-Dd-Bb, Eb-C-Ab, F-Dd-Bb, Eb-C-Ab

F-Db-Bb, Eb-C-Ab, Db-Bb-F, C-Ab-Eb, Bb-Gb-Dd, Ab-F-Db, G-Eb-Bb, A-F-C, (Bbm)

 

held-out chords #1: Fm/C | Eb/C | G/C | Ddim/C | Csus4 resolve to C

 

held-out chords #2: Eb | F | Db | Bbdim | C

 

 

Rich Forman

Yamaha MOXF8, Korg Kronos 2-61, Roland Fantom X7, Ferrofish B4000+ organ module, Roland VR-09, EV ZLX12P, K&M Spider Pro stand,

Yamaha S80, Korg Trinity Plus

 

 

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I found this thread about eight years too late. Is "Mike's transcription" in this thread somewhere?

I'm not seeing a link. "The website you have dialed is no longer in service. The new website is"

Found a few errors from those how tos from ER. just started looking at it but those videos

have 1 or 2 screwy places as well. needed to get media player and reaper playing using

Voicemeeter, but my old little laptop is thermaling down so not getting much done.

Yea there's quite a few more that I can;t get drilled down.

z0RhUbR.jpg

Triton Extreme 76, Kawai ES3, GEM-RPX, HX3/Drawbar control, MSI Z97

MPower/4790K, Lynx Aurora 8/MADI/AES16e, OP-X PRO, Ptec, Komplete.

Ashley MX-206. future MOTU M64 RME Digiface Dante for Mon./net

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That's because there are assholes that never want to learn anything so they come up with excuses like that at practice. Too little payoff is a lazy excuse.

Weird thing is he's an amazing bass player, went to music school for classical upright, he's a big Jaco fan and can lead with the best of them, has incredible feel, and is solid as a rock. We play much harder stuff than that (Foreplay bass part is so easy I could play it!).

 

So it's not pure laziness. He legit thinks it would be a party killer, and not good for our set. He might not be wrong for most nights, but we get different crowds, and sometimes we've got a "sit down and listen to epic hard rock" audience that gets moist for Dio, Deep Purple, and Ozzy, and that would fit right in.

 

I'm also one of the odd ones that thinks that "Long Time" is a catchier and better song than "More than a Feeling". But single sales would probably say otherwise, so I'm obviously not a good judge.

Puck Funk! :)

 

Equipment: Laptop running lots of nerdy software, some keyboards, noise makersâ¦yada yada yadaâ¦maybe a cat?

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Cool old thread! I'm probably going to mess around with this too. I doubt I'll ever get to play it out but it looks like it's fun to learn.

 

As an aside, those vids of the mall organ dude and the girl show what actually are arrangers. You guys seemed to really dig their playing. Well, that's what arrangers are all about. All of these elements of these tunes I can program into my Korg Pa3X and it can be done on the Genos as well. You don't have to use the actual prerecorded arranger licks you hear people doing like Spanish Eyes and crap like that. Oh no, these things are full controllers no different than all these threads talking about how to use a software rig controlled by Mainstage or whatever. My Korg has 9 sliders, 4 pads, 3 other buttons next to the joystick, a ribbon controller and two pedal inputs in addition to the regular expression and damper plus 6 discrete audio outs. All of that is fully assignable. Drum licks, musical phrases, bass lines can be assigned to the pads, jumping from one song section to another can be on a pedal, all kinds of stuff can be done. To give just a taste of something hipper than an old guy playing Tico Tico in his bedroom, check this out:

 

[video:youtube]

 

There really should be an arranger section on this forum, they're keyboards too and the high end ones have some of the best stuff the companies have to offer. And my Pa3X is a very high quality piece of gear with a very good feeling keyboard. No cheap plasticky case and spongy keys here. A downside is even though it has a full organ clone emulation it's not very good. Nothing like a CX3 for example. Oh well, nothing's perfect.

 

Bob

Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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Agree that arrangers deserve their own thread on this forum. They are scary impressive machines, and they have their niche in the grand order of things.

 

Although, I'm not going to be doing a Lowrey organ anytime soon, unless I'm channeling Garth in a The Band tribute thing. I'll need a whammy bar, though.

 

I'm not one to play keys in my bedroom studio, but that video is a good demonstration of what's possible. And, given my situation, something like the Korg (or Yamaha or Roland) could work pretty well for a small trio where there's just one instrument to cover all the parts.

 

That being said, there's a concern?

 

My two vocalists like to be loose with timing, phrasing and dynamics. On a decent AP slab, I can hang with them and embellish their every nuance. It's sort of our thing, we create all these spontaneous dramatic moments. The audience feels they're listening to something special (obviously not rehearsed) so we'd like to keep that.

 

Put them on a click track, not so sure. Maybe for some songs, and not others.

 

That being said, I think when it's time to bring some uptempo danceable stuff, an arranger is a good answer.

 

There is a weird decision coming up with this trio and my next instrument. We're super popular and currently over booked (raising prices!), so I'm willing to invest.

 

Do I go with something like the Nord Grand and lay out the awesome AP goodness? Or do I do an arranger thing and bring some game for the danceable stuff?

 

I haven't figured that out yet.

Want to make your band better?  Check out "A Guide To Starting (Or Improving!) Your Own Local Band"

 

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I don't want to completely hijack this thread (only a little hijacking, haha). In addition to programming ahead of time a song like Foreplay, you still have all the style functions. Find a style, or create your own, that fits the tunes for your vocalists and then you're playing live, you have no problem following them then. You're not playing along to a prerecorded midi file for example so no need for a click, it's all live performance. You're controlling the chords with your left hand, you can change keys, change tempo, change how many bars for a solo, whatever. If the vocalist wants to just vamp with you alone and you're playing loose, no tempo all you do is hit the manual bass button and that shuts off all the accompaniment tracks but for drums and you can use a slider to mute those too or just hit the Stop button and play piano alone on the upper split, the instant you hit a LH chord it all starts up again.

 

Bob

Hammond SK1, Mojo 61, Kurzweil PC3, Korg Pa3x, Roland FA06, Band in a Box, Real Band, Studio One, too much stuff...
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Voicemeeter just wasn't getting it so I dumped it when I found

Synchronous Audio Router, no thermaling at all, so low on resources

works really well. now I'm wanting a little 49 note controller

so I can sit in the recliner and piddle away.

 

Triton Extreme 76, Kawai ES3, GEM-RPX, HX3/Drawbar control, MSI Z97

MPower/4790K, Lynx Aurora 8/MADI/AES16e, OP-X PRO, Ptec, Komplete.

Ashley MX-206. future MOTU M64 RME Digiface Dante for Mon./net

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