TranceAddict Forums (www.tranceaddict.com/forums)
- Production Studio
-- Music Theory - Scales
Pages (3): « 1 2 [3]

Adam, you keep talking about this book - what is it?

quote:

Originally posted by Synchronicity Therefore, doesn't that render theory pointless? - Question, not statement Here's the original sample!

tell Beethoven that. All the great composers studied theory altho most of them pushed the boundaries of what was acceptable. ALl the theory you guys are looking at accounts for maybe 5% of what it is actually about. So perhaps it doesn't seem usefull to you , that is because you don't know it.

But it does explain 99% of music you hear. Those are some pretty good odds

quote:

Originally posted by Channel Surfer right on man, let's try to take some of the attitude out of this, me and you, fair? here's why: when your making dance tracks playing some notes in and making them sound good without any background is not only valid but impressive. but if you're in the high end recording world and you're a producer you know what key a song is in. from a more traditional standpoint all the classical music, jazz music, and even something like rock band tab books or even band geek books are made with the grand staff, and the same connective music theory that makes playing the music universally translatable. so if you're in your studio and you play in some c minors, no one knows or cares if you read that note as D# or Eb. my arguement "holds no water" itself. and you would be correct, but alone. however, from a compositional standpoint, you could not give sheet music to anyone of something you had written without proper understanding of the key you wrote it in. c minor is a three flat minor scale that goes C D Eb F G Ab Bb (C). the cleft would have three flat symbols written on the E A and B places. any session musician, composer, or arranger would be able to use what you gave them.

Ok I think I get at what your getting at, but I will never use sheet music or publish my music in notation, so I think I'll be fine ;-)

I think were both right on different levels.

L8r,
DJS

quote:

Originally posted by DJSentinel Ok I think I get at what your getting at, but I will never use sheet music or publish my music in notation, so I think I'll be fine ;-) I think were both right on different levels. L8r, DJS

well traditionally F# and Gb were not the same. Perhaps on a piano but that is a modern instrument. Musicians used to and still do play sharps and flats with different inflections

so no. You aren't both right. You are dead wrong. I suppose you wouldn't have to worry about that in the electronic domain but that doesn't mean you have to go spreading misinformation to people that might be interested in learning.

quote:

Originally posted by RichieV well traditionally F# and Gb were not the same. Perhaps on a piano but that is a modern instrument. Musicians used to and still do play sharps and flats with different inflections so no. You aren't both right. You are dead wrong. I suppose you wouldn't have to worry about that in the electronic domain but that doesn't mean you have to go spreading misinformation to people that might be interested in learning.

Well sir... you are on an electronic music forum

Well, I don't know about anyone else, Sentinel, but I'd rather learn it the correct way, so please stop being defensive and trying to prove your self righteousness and let the learning continue!

Not trying to prove anything. The point is that I don't care if I'm right about it or not, since it will never hinder my ablilty to produce music. I am sorry if I came off a bit on the offensive side.

Nuff said (Y)

quote:

Originally posted by skot_e Adam, you keep talking about this book - what is it?

Ok, don't laugh at the name, but I got it because of great user reviews at Amazon.com. I agree with them, it is a great book.

Title: The Complete Idiot's Guide to Music Theory


I know there are some people that scoff at the idea of learning music theory - I used to be one of them. However, as I read this book, I am learning quite a bit of things I never knew. Why turn your nose at a theory that has been in development since ancient Greece - if not earlier. Many musical geniuses throughout history have helped in this theory.

If anything, music theory will only make you better. It cannot hurt at all.

Take care,
Adam

quote:

Originally posted by David Adams Ok, don't laugh at the name, but I got it because of great user reviews at Amazon.com. I agree with them, it is a great book. Title: The Complete Idiot's Guide to Music Theory

Sorry, I couldn't help it.
Nothing wrong with learning from scratch!

quote:

Originally posted by skot_e Sorry, I couldn't help it. Nothing wrong with learning from scratch!

Just don't let the title fool you. The Idiot and Dummies series of books often put out very good books.

quote:

Technically, can you ever play a wrong note if you stay in the right scale?

Question makes absolutely no sense.

What do you mean by wrong?

Play a whole tone scale - C D E F# G# A#. Does that ever sound 'wrong' to you at any point?

When will people understand that relationships between notes in a scale are based on how they resolve?

E to A has strong consonance. It sounds like it resolves fully.

D to E has mild consonance. Sounds as if it resolves but not quite as fully as it could be.

C to C# has mild dissonance. Note does not sound as if it resolves fully.

Depending on the scale there will be more or less consonance/dissonance. Moded scales will all have different degrees of consonance/dissonance. Some more than others.

There is no such thing as playing a scale and every note sounding 'right'. It depends on the context of the song, what you think sounds 'right' and what the scale is.

a Cmaj scale is strongly consonant though. If that sounds 'right' to you. However, building whole songs out of only consonant scales sounds utterly, utterly shit. Its boring.

One of the great beauty of music is changing moods by moving between varying degrees of consonance and dissonance.

quote:

Originally posted by David Adams Just don't let the title fool you. The Idiot and Dummies series of books often put out very good books.

not at all, i know i could do with some education, as I fit into the 90% i spoke off before.

quote:

Originally posted by Derivative Question makes absolutely no sense. What do you mean by wrong? Play a whole tone scale - C D E F# G# A#. Does that ever sound 'wrong' to you at any point? When will people understand that relationships between notes in a scale are based on how they resolve? E to A has strong consonance. It sounds like it resolves fully. D to E has mild consonance. Sounds as if it resolves but not quite as fully as it could be. C to C# has mild dissonance. Note does not sound as if it resolves fully. Depending on the scale there will be more or less consonance/dissonance. Moded scales will all have different degrees of consonance/dissonance. Some more than others. There is no such thing as playing a scale and every note sounding 'right'. It depends on the context of the song, what you think sounds 'right' and what the scale is. a Cmaj scale is strongly consonant though. If that sounds 'right' to you. However, building whole songs out of only consonant scales sounds utterly, utterly shit. Its boring. One of the great beauty of music is changing moods by moving between varying degrees of consonance and dissonance.

You knew what I meant when I said 'wrong note'! I asked so someone would say or think this:

quote:

There is no such thing as playing a scale and every note sounding 'right'. It depends on the context of the song, what you think sounds 'right' and what the scale is.

When you mentioned resolve - that referrs to the difference in the tiesto melody. Either his ear was off(!) or he thought 'I'll go to E next coz A,C,E, is Am'.

(Trying not to sound patronising) I enjoyed reading what you said about consonance because it says 'listen to the difference between note intervals' instead of 'minor is better than major'.

quote:

Originally posted by Derivative Question makes absolutely no sense. What do you mean by wrong? Play a whole tone scale - C D E F# G# A#. Does that ever sound 'wrong' to you at any point? When will people understand that relationships between notes in a scale are based on how they resolve? E to A has strong consonance. It sounds like it resolves fully. D to E has mild consonance. Sounds as if it resolves but not quite as fully as it could be. C to C# has mild dissonance. Note does not sound as if it resolves fully. .

i think you are on the right track but E to B would be considered less dissonant than E to A. Perfect 4ths weren't used until later on because of that. Major 2 and minor 2 would beconsidered dissonant. And C to C# would be considered the most dissonant being a minor 2nd.

And when you talk about things resolving , it has to with chords , not individual notes. So E and B or in the case you mentioned E A wouldn't be fully resolved because there is no context. The word resolve was used to indicate how the tritone in a V7 chord should be resolved to follow proper voice leading techniques.

so like V7 in c major would be GBDF with the triton occuring between B and F. IT would resolve to CEG chord with the B going to C and the F going to E. That is what theorists mean by resolving.

don't forget there are THREE dissonant intervals within the octave

the minor 2nd
the tritone or flat 5
and the major 7th

all three of those are quite nasty on their own.

and to answer someones question from earlier...

i've been teaching music for ten years but making my living at it for the last 5.

any other theory questions, i'd be glad to help....

i created a song recently in major scale.. very euphoric/uplifting... however, i find that it's hard to mix with... any of u producers find this difficulty as well?

urm no! why would it matter being in a major scale?
just pick your tunes right but maybe its also not dj friendly i dont know.

It is probably the big sound bridge between your track an a professionally done one. I couldn't mix my tracks from 4 years ago with an Armin van Buuren track because they are not on the same quality level. They don't mix.

probably has to do with not having comlimentary keys. do you know what key the track you wrote is in? i used write tracks in like Bb and C#minor and stuff, wanting to use less common keys but again, mixing those tunes into other became quite difficult...

not to digress from the original post,

but that's probably it... the sound bridge you discussed...

i tryed mixing in key.. i used the relative minor of the song to mix with other songs near it... so i don't think that's the case.

mix major with minor

too much minor sounds sad and dark unless you want dark trance

and too much major sounds happy unless you want happy love parade trance

Powered by: vBulletin
Copyright © 2000-2021, Jelsoft Enterprises Ltd.