stefan plepp posted an update 4 months, 2 weeks ago
My name is S tefan. Actually I#m in the CCGC course and in the oragn bootcamp course.
I have a question to all of you: Are you able to transcribe what Vaughn does in his lessons?
Are you – like me – spending a lot of time with transcribing Vaughns great lessons?
I’m a visual guy. I need to see the lesson transcribed note for note to analyze and to understand what happens and whats new for me…
For example the gorgeous lesson in Organ Bootcamp Course where Vaughn demonstrate the style of playing devotional songs. I’m from Europe…I’m not familiar to gospel songs, that why I’m here to learn. So I had first to search for melody and chords of “Glory Hallelujah” in the internet, that took me half an hour. Then I wrote down Vaughns bassline. Ok, its simple but effective. Nothing new there for me, but I didnt know before I transcribed it…spending lots of time in trying to replay that video player, thats difficult to stop at the correct moment or to rewind for a certain length of time….But thats wasted time for technical reasons. I would prefer to practise and experiment with the new knowledge. And there is so much to learn…
So finally I needed 2hours instead of 5 minutes if I have had a score..
So what I want to ask you:
If we share the work and every student transcribe 1 lesson or parts of it and put a link in the comments of the lesson we could all save lots of time…maybe not only as score, but also as midi file, that one can transpose it etc?
If you like that idea please write me that we could make a plan, who already transcribed wich lesson. I did some. I’m in organ bootcamp course and in CCGC Course.
Welcome to create crazy gospel chords and the GU Academy space. Next month will be my 1st year anniversary since I signed up and my learning experience has been a blast.
I think Vaughan’s videos give an example as a guide for reference. If you see the outline of goals he sets out for the participants, one of them is the build chord vocabulary and facilitate creative ideas. That is, beyond transcribing note for note, my experience and take away so far from this journey is much more than that. It unleashes the understanding of how music actually works so you are empowered to learn, play or pick up on sounds quickly. Between the intervals chords (triads and 4 note chords) along with scales and practice plans, trust me breaking down songs will develop in no time. Personally, I spent the 1st six months scrubbing the lessons and taking my own notes. In this way, how to transcribe and develop or author my own movements accelerated quickly.
I hope this helps. Let me know your thoughts to my initial reply here and I can dig in more if your interested.
One last thing. Nothing beats listening to lots of good gospel music to internalize the feel, movements and absorb new ideas for creativity and then use CCGC to add your own flair to it.
I just asked, if there are more guys like me, that feel a need to see it note by note, so that we may share our transcribitions.
I guess, everyone learns in a different way. I’m a visual guy. if I see the scores its easy for me to analyse them. to play it. To understand the principles. and to apply them. I fI dont see them, it feels as I dont understand…
So I did that transcribing for some lessons and would be lucky to share it to other students and if others – who transcribe too – could share their transcribitions with me to preserve ore time for practising.
… But mayby I’m the only one :-). Because until now nobody answered. You’re are the first! Welcome again.
But I dont like sitting hours transcribing instead of practising and playing. even more when it is due to difficulties with the video player, were I need lots of time to replay a special moment, because its always rewinding 10 seconds…
BTW: I mean mainly the Organ Bootcamp Lessons, and there mainly the last chapter where everything comes together. There are no additional media and I’m not able to follow “on the fly”. I think, one should be able to get a feeling for that and to find it freedom to extend that style to other songs… And I want to get it by playing it…but without transcribitions I feel not able to do that. I already tried.
I didnt completely finish the last chapter of CCGC yet, but there ARE lots of additional media, and I felt less need to transcribe there, (But nevertheless I transcribed some of the lessons ot parts of it)
So: Do you want to share some scores? 🙂
Thanks for your reply. I can see how my initial response creates the impression I was trying to defend the lessons lol. That was not my intention though.
I actually misread what you meant by transcribe. I didn’t realize you meant post it in scores on music sheets. Now, I am very much into music theory – the main reason I signed up, but not much time or interest in scores. So, yes I am visual to some extent but visual in so far as grasping main ideas.
I writing out chords by letter and number system early on to get my head wrapped around Vaughan’s playing. That was only to absorb the dynamics of what was really going on. Once i saw the big picture, I refocused on the number system he prepared in chord charts, intervals and scale degrees. Once I comprehend that, I find that is enough for me. Beyond that, I find there is so much just mastering that alone that I barely have time to write notes on score sheets.
Sorry, I am unable to help there. For me personally, and my time or interest I would not gain much value in that process.
So that’s my experience similar but different from yours in some ways with transcribing. I imagine each learner has unique thresholds of interest. I found many here are interested in learning to play but not very interested in deep theory discussions or excercises.
Yes wonderful. Congratulate you to that. I play jazz saxophone for 30years. and maybe I’m on the same level on that instrument.
But don’t get the connection to what I asked?
Of course I want to find, what chords are in the lesson? And to find out, why Vaughn use them, what was his intention and how he create tension, increase and solve it and where… …
And to see that, I have to know, what he played? And in Organ Bootcamp course this happens in real time. It’s a groove with very short touched and fat chords. And to identify them I need to write the notes down and put it in the different rythems…
Let me try to focus on each question in line.
What chords are being used?
90% of Vaughan’s chords I think are based on his chord vocabulary worksheet. So that’s where the knowledge comes from in my experience.
Why he uses them?
He uses them based on feel and preference. He often refers to “thickening” of sounds. So like anything we cook or taste, the level of texture depends on the cook and preference depends on listeners. Similar to musician and audience with chord selection. I think there is no set rule. Vaughan sets out a lot of guidelines and principles. Like space out notes in left hand with minimum 4 or 5 intervals, is one example depending on how low in the register below middle C. This is a guide I gain immense insight from to guide what I select different flavors of chord voicings. I may drop the 2 (second highest) note in a left hand to maintain this principle often. I apply it as w practice because regardless of what I play or chord I choose in any moment, it if sounds good rhythmically and harmonically I will play it. The to emphasize why I choose that chord, like Vaughan teaches, is to prevent a muddy or cluttered sound in the left hand. This is honestly just 1 if dozens of notes I took to understand and follow “why” chords are selected.
On your tensions, increased and resolve question…
I know I can play almost anything over the 7th chord or shell. Vaughan has a whole lesson on tensions. It’s very deep. I took tons of notes. I have not mastered the memory of guidelines for all the tensions but in reality when I play, I am always aware the tensions the 2 minor chord….which is the same as 9+11+13 of the
Major scale degree for most songs. I know the higher the number, the greater the tension. Also, adding sharp or flat to 9th or 11th is most common. Rarely sharp 13th. With this foundation info, ans working intervals and basic or 4 note chord voicings in the left, I just keep playing with this color tension notes and add or release the based on my style and fit with the presentation in the moment. Vaughan does the same, but he has wonderful piano course or tutorial in the piano library on different genres. In that handful of videos he really takes the break down to new levels and I can hear or understand the applied use of tensions and how or why it fits tempo or style wise. So much to exhaust on this topic, but I wanted to at least attempt to respond to your question on tensions. It is a huge and critical part of gospel music playing and beyond the basic principles, which I am still learning to remember all, playing and feel is the best way to develop that art. Furthermore, he has a whole course set on emotional grid. That explains why chords are used and reveals tensions on a whole new level beyond my basic overview here. Fascinating stuff.
So, if you name a video, I can try to work with you. I must say I have almost zero experience writing chords on music sheets. Except basic classical theory when I wrote 2 or 3 exams as a child. I consider myself a beginner approaching intermediate gospel playing based on this program. But very seasoned in live services for 25 years. I joined to undergird my theory and organize my knowledge. I lack so much abstract organized knowledge to achieve my best and that is why devote the past year to writing notes, principles and really understanding notes. If you have a template to follow I am willing to try transcribing to see if it helps or add value.
Great questions and discussions. I hope I respectfully acknowledged and focused on quality responses or reflective thoughts and understanding to your queries based on the framework of this CCGC program and my experience with it for the past year.