A Bit Of Ol’ Practice For Moving Imagery

Another piano piece trying to capture a documentary I was watching, maybe in the future I’ll play the original documentary video and then my alternative version (same video, different sound track)

I hope you enjoy the piece!

I also want to write with other people in the same way, (stimulus -> small piece of music -> scoring) so if anybody would like to start exchanging ideas then I’d be more than happy to start a new project.


Plinky: Starsky’s Stolen Candyfloss

Another Plinky video?

After a train ride of talking about Scott Pilgrim and ‘We Are Scientists’  me an Mr.Parker thought we’d make a lovely tune for our blogs, so the material was a result of 5 -10 rehearsal space minutes of combined ideas…

Ashley Field was our session player today (Thanks again!), he an George play far superiorly than me in the recording so atleast I can look back an see what I need to improve on I.e; My timing, tone etc

Big thanks to Alex Nash for the use of his Ibanez guitar

My Randy Newman Track

So I’ve been talking a load of cod wallop lately about film music etc, I had no evidence of this.

Yes I have put on weight, yes it makes me sad, an no this video doesn’t really improve my chances of those pesky distinctions but it makes me happy to know it’s on a platform.

So here it is, inspired by Randy of course and it’s kind of about Star Wars but you probably wouldn’t get that from the feel, anyway if you want to rip into then that’s fine, I’m not very good at piano so criticism is always needed, I’m aware of the mistakes but if you want to watch then thank you very much.

What was nice was I came home and shown my folks (not really supportive – off tangent) and they said “I didn’t know you could play piano,” that made me smile, so close your eyes and welcome to the world I’ve created which is alive for 2:50 a piece 🙂

Plinky. – Captain Quirk

Yes!!! finally I got some gems to share, problem is there’s a million mistakes and you can’t really hear me but for your entertainment I present Plinky. So who are Plinky? well it’s a project where you make music that draws elements from musicals that we’ve all sessioned for as well as our own blends of creativity.

So… the plan!!! I kind of want a lot of people to know how to play the tracks of Plinky, I want to see what people do to augment and improvise over existing material, a bit like when people play over jazz and put their own personal flavour onto it.

Run down – Okay people I hope you enjoy the video, what’s that? you want to play it? oh geez well here you go:

Main Riff Chords – C# – 9 / G# – 7 / Amaj7 / Cmaj7

C# – 9/ G# – 7 / Amaj7 / F# – 9

C# – 9/ G# – 7 / Amaj7 / D – 9

C# – 9/ G# – 7/ Gmaj7 / Gmaj7

Jackson Five Riff – G# – 7/ C# – 7/ B octave

G# – 7/ C# – 7/ Gmaj7/ B octave

I believe in collaboration and augmentation, if you feel my version of this isn’t as good as one you can create then please share, I love hearing other musicians styles as long as it’s organic and unique, so when it comes to playing live I have a selection to choose from and so everyone and anyone could get up and play these catchy brain child’s of mine.

Have a nice weekend whatever it is you choose to do, if you did want to learn more or even session then please just ask.

My Level 5 Comeback!!!

So what I’ve done is post what was an open mic at my college, a new events management course are trying to cut their teeth at their trade and I for one are trying to collaborate with them as our objectives sort of come hand in hand, in the video I got asked to do that very hour a show, some ambient stuff.

As I got up there the bassist (The esteemed Mr. Chatfield) says “In G Major,” In which I nod and pull out some bright lydian chords for the audience accompanied by a sound scape provided by the bassist and then conducted by the drummer.

100% improvised… those classes sure helped

So I’m back to blogging, yes it’s been a while but I feel I have improved over the past year so I hope my content and contribution to this space is a lot better than before. Being half way through my course now and I’ve done some interesting things, I can’t way to tell you about these subjects that I’ve got coming up:-

– Workshops for younger musicians

– Teaching

– Setting up my own gig

– My own musical journey


Technology – Have You Shaped Us?

Yes they have, I also have a blog dedicated to how technology has helped my music, here’s the link;


The blog is to support the fact that instead of having a wide range of guitars my concentration had changed to pedals and the fact they support me into making better quality sounds and makes my specific sound that I try to accomplish sound that tad more unique.

Enough about me, more about how the internet has changed the way we think as musicians and distribute our product, interact with our fans and even create the music. My focus in the blog is how social media has affected the world of musicians.
From a bands point of view, currency is in views/ followers/ likes, that is currently the climate of bands (which will most likely change in time) in which they have to fight the masses of publications and adverts that are posted on their wall or blog. I know from experience of posting videos and video diaries that Facebook and much like the deceased Myspace that it’s like watching paint dry, to gain popularity it seems you have to obtain these ever so quaint likes/ follows and views and to do that you must interact with the public. This is done easily by posting your video multiple times and in the hope that someone will share this, simple clicks and word of mouth and your best friend.

Positives and negatives of social media:


– It’s been done too much, look for a different approach

– No one cares for new music, unless it’s been reviewed by someone they know (even then it’s a push)

– Paying for like & views with actual cash (Really? … Yes that actually happens)

– This can be the band or artists downfall by taking to much interest into social media, what I mean by this is everyone is their own critic, causing everyones strong opinions to potentially hurt your integrity. (Don’t let reviews ruin your art!)


– Gain Fans? Publicity seems to be key and nows theres a very easy/ lazy way to do it, a win win.

– Keeping everything organised

– Music at the click of button, your accesibility is key

– Keeping in contact with those who your enjoy your music is very easily done, just be witty about it, try and be different (hard considering everyones become accustomed to the current climate, become an innovator)

Thought I’d share a few things on how hard it is to actually gain a fan base, if someone has seen you at a gig and was interested then they’ll eventually check you out for your material online so having that instrument is vital in the continuation of your band in the current climate.

Musical Texture – 3 examples with counterpoint

In this blog I will be talking about 3 different pieces of music and their contrapuntal elements along with texture and the specefic areas in which counterpoint occurs in the song, this should also cover styles and elements of three different artists. The three artists I have chosen are:

– Bjork: Crystalline, this was chosen due to its abstract texture and then at 4:18 in the track it completely changes into a breakbeat changing it rhythmically.

– John Coltrane: Interstellar Space, this is due to the instrumentation, it’s easier to explain the contrapuntal texture to it’s limitation but also a nice contrast from my first choice.

– Plini: Heart, the instrumentation makes it accesible and easy to pick out the devices that make the song what it is, also a contrast from the other two, although it’s another instrumental piece it’s key changes are more apparent due to it’s genre, whereas the Coltrane track has more jazz involved this has a more major/ pentatonic feel when the solos are playing. Coltrane uses more Melodic minor whereas Plini have more more intruments to be concerned about especially when soloing so the sense of free jazz isn’t in the track, the improvisation isn’t actually the same.

Okay then, in the video above you’ll start with the glockenspiel and a form of homphonic contrapuntal texture due to the way the vocals are being accompanied by the instruments there are polyphonic/contrapuntal elements with glock ostinato parts and certainly with the jungle breakbeat at the end creating rhythmic counterpoint. 4:18 in the track introduces a more rhythmic counterpoint into the song which completely differs from the song, as this is my first choice the comparison between the other two is apparent due to the amount of change inbetween that point at 4:18 and the instrumentation. Genre affiliation would be breakcore at 4:18 but as Icelandic pop goes I’d say the genre is just Bjork!

Seconds away! an as we start with the ridiculous experimental drums then comes in Coltrane with the melody, this would be monophonic contrapuntal texture due to the one melody playing whereas the counterpoint exits between the constant changes and shapes of both drums and saxophone. The genre being free jazz is music without the boundaries of specific time and key (yes if the un – virtuoustic play then it really does terrible) this is probably the pinnacle and the final accolade of music where two musicians really can play something of such complexity without boundaries and make an entire album from it.

Start with just a monophonic riff but adds with a heterophony feel, as the song progresses I felt to name it as homophony pretty much throughout, what’s cool to see is in their solo’s they keep to the same top major scale and pentatonic melodies much like I do in my soloing, there is a touch of polyphony, i.e. a contrapuntal device at 1:31 when the guitar solos against the main melody.
So learning this song wouldn’t be too difficult as it really isn’t on Coltranes playing level, the contrast between this and the the other two is that it doesn’t rely on a vocal melody being the priority stripping the thought of Homophony and due to the instrumentation it can’t be monophonic so already from a  contrapuntal texture angle it differs completely from the other two. With the scales used too it differs;

Coltrane – Melodic minor, free jazz

Plini – Major/ Pentatonic minor, key changes – adds the modulation into solo (gives it more flavour)

Bjork – bass + glockenspiel just using riffs throughout, vocal doing the majority of melody

So hopefully I’ve discussed and cleared three different types of contrapuntal textures along with examples and used those textures to show the difference between the genre.