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Kvlt! posted:Thanks for all the help everyone! Time for me to study everything everyone posted here. Could be wrong (I've also been trying to tease out this stuff over the past couple months) but I don't know why you'd wanna play mixolydian over all 3 of those chords. If you were in G major you'd play the major over G, the C lydian over the C, and the D mixolydian over the D. If it was G mixolydian (but I see this way less), you'd do C ionian and D dorian. You end up in G mixolydian a lot starting in/from C major as I, but that's in the context of G as a 5th of C This has the advantage of keeping everything diatonic, and you can kinda derive a lot of this stuff by playing the same notes of the scale of the key you're in just going from like 2nd to 9th instead of 1st to 8th. And I think this lets you kind of suggest different harmonies by for example naturalizing the sharp 4th in lydian (so it feels more like ionian) as a blue note but I am now talking completely speculatively/out my rear end instead of just kind of
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May 12, 2022 23:02
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| # ¿ May 17, 2024 23:37 |
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Kvlt! posted:This is a great channel. Thanks! Again, disclaimer that I'm really in a similar spot and all this stuff should have "... I think" caveats. There's a circle of modes going Ionian -> Phryggian -> Dorian -> Lydian -> Mixolydian -> Aeolian -> Locrian -> Ionian (major) Or Aeolian -> Locrian -> Ionian -> Ionian -> Phryggian -> Dorian -> Lydian -> Mixolydian -> Aeolian (minor) Corresponding to scale degrees, which is like a breakdown of what mode to play for that degree to make sure the scale is using notes that are in the key you're in, for all the notes/degrees. So like Major being Ionian, if you play a scale in Ionian G great you're grooving for the I chord. If you move to the IV chord of the key, then playing Ionian C (c major) would mostly be fine except the C has a F natural, and the G has a F#, so to resolve this you sharpen the 4th degree of the C chord and then you're in Lydian. Still playing notes that are in the G major scale, cause that's your key, even though you're in C. Then moving to the V, the D chord, you are mostly there again sticking to the same notes (F# and the rest are white keys), but from D, that means your 7 is flat (it's a C and D major has a C#/Db). Subbing to stay in key gives you a dominant 7th chord, or a mixolydian mode (major w/ a minor 7th). These are rules to break if you want, but like the natural 4th when you're playing over the IV chord in a major key sticks out, clangs a little more than the sharpened one. And like for the above examples, you're not gonna notice except on the 4 of the IV and the 7 of the V, though other modes/degrees get a little wilder
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May 13, 2022 05:14
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Helianthus Annuus posted:mostly right, but Dorian is supposed to come before Phrygian hah! I knew something looked off. Anyway, hence all the disclaimers, this is the level of error I'm making
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May 19, 2022 02:19
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Rocko Bonaparte posted:... there isn't actually a formalized music theory for drums, is there? I looked more online and even within the domain of classical music theory, I saw a lot of what boiled down to "just talk to a drummer/percussionist lol." I found the concepts this wikipedia article talks about very helpful for doing my own analysis: https://en.wikipedia.org/wiki/Additive_rhythm_and_divisive_rhythm my goals were just to write better rave music though. At the time tresillo/clave rhythms were coming in vogue again. I'm still digesting, so apologies for vagueness, but I find a lot more concepts that relate to the contemporary rhythm vernacular in Indian classical & improv (i.e. ragas) theory than I do in European schools. NC Wyeth Death Cult posted:This could help- this book tries to figure out why certain rhythms are good and universal. It's very dense and modern notation looks like geomancy magick but with all things music, reading about it is different from sitting there behind a kit or DAW and programming rhythms for hundreds of hours and getting the feel. that looks sooooo dope
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Jun 15, 2022 00:26
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A lot of this is knowing your audience, this is almost more of a pop culture problem than a musical one. Final Fantasy VII has a puzzle like that and uses the airship theme from the game for the solution, and the Star Trek theme has a couple riffs that show up across series. The band Phish does a few of these as part of their live show as crowd signals, that 'circus' riff (I'm sure you know what I mean) and the simpsons theme work the best imo (and the Star Trek theme too sometimes actually). Chopsticks (piano) or Smoke On The Water (guitar/bass but you'll recognize it on keys) are like very basic beginner repertoire things if you wanted to go that direction. Helianthus Annuus posted:For recognizable melodies, "Mary Had a Little Lamb" or something? If you want it to be non-recognizable, there are a lot more options for you than I can enumerate, but some melodies are more "singable" than others. Yeah, I'd try to give a lot of leeway on the rhythm (and also octave, MIDI is weird about what number middle C is sometimes) unless you specifically wanna make it a musical challenge
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Jul 9, 2022 04:41
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Kvlt! posted:mixo scale ... and it sounds good (to me at least) In addition to the theory explanation, listening to a lot of Phish and the Dead will do that to ya after a while (or it did to me). Similar thing happened w/ psytrance and metal and phryggian
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Aug 3, 2022 06:18
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In school I heard a reference to different concert pitches (415 vs 432 vs 440, for example) and ease of playing woodwinds as the reasons. Woodwinds makes sense to me from a pedagogical perspective (especially before instruments were as categorized), the "Cmaj" scale (Bb/Eb) is basically the same on saxophone, recorder (confusingly, these are pitched in concert C, right?), and I think clarinet. Wiki says that brass instruments are pitched at the fundamental from which overtones that make up its sounds are derived (often Bb). Which sure? (blind spot for me) There's also something about transposing for an orchestra from band and ensemble instruments, which I sort of but don't quite get (my dad has become a chamber music head as he ages and at one point half explained why it's not to concert c but I forgot lol - maybe something about just intonation w/ a string quartet?). I guess this comes up in Bach a lot and he's still pretty hot poo poo in the composer world, and thats as good a reason as any. I sort of remember reading something about 'well-tempered' as in the clavier not meaning equal temperament... I guess my question is how we ended up with so many standards we needed to reconcile? This is probably historic as much as anything. Also this has always bothered me - why isn't C A? Like why is the default scale that you learn first the C scale? And/or why isn't the major scale with no accidentals the A scale, and everything modified from that? I feel like it's probably a related answer
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Oct 22, 2022 19:43
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lol I read that as "its needlessly complicated and sucks rear end unless you're a student going 'I see what he did there' "
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Feb 8, 2023 20:35
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| # ¿ May 17, 2024 23:37 |
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Is there such a thing as a chord progression... progression? Like how if you're playing Cmaj blues arps you're gonna go like C-E-G x 4, F-A-C x 2 (etc).... but for chords? So I guess here I mean playing Cmaj Emin G7, Fmaj Amin Cmaj. The way it's the same (mostly) tonal relationships, just bumped up the appropriate degree, in a kinda call and response type way. I absolutely have no idea what the right vocabulary to talk about it is, I wanna call it a chord progression progression, chord melody, key progression (I don't think I just mean a key change cause I think I mean when its repeated / more frequent), or like something with modes? But none of that sounds close to right to me. Having trouble getting an obvious example to post (never a good sign...) but I'll dig if it's not obvious wtf I'm talking about
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Feb 4, 2024 00:45
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