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Big melodies
I can write melodies after i have writtena chord seq using notes from the scale the song is in. My question is this I wrote a chord seq not using my piano programming it in in seq window. Problem is the chords are lovely but i dont know what scale they are in and I also cant seem to find the correct root note of some of the chords as i am not sure if the chord is a sus4 or triad etc depends which way you invert the chord. If you dont know what a chord is how do you know root note. What if the chords go out of scale is that allowed?
Im confused
Chilled version
How do you find the root note of a chord you do not know?
Do chords have to be in one scale?
If the melody sounds good but just uses any old notes can it be used is it in key?
cant understand why you dont know the cord how did you write the riff patton ie what was the first note played?
Why don't you post the notes that you are playing in each chord and we'll help you understand what chords they are, the inversions, what key it is in, the scales/modes that you should be using, etc. Be sure to tell us which note is the lowest in each chord so we can help you figure out the inversion.
music theory is just a guide to help you 
if it sounds good then it sounds good. there are many instances where you can jump out of a scale for a second but usually only if you resolve back to it.
take a pic of your piano roll(s) and we'll help you
The scale is most likely the bottom note of the first chord.
Whatever though, if it sounds right, it is right.
http://www.looknohands.com/chordhouse/piano/
I think i know most root notes but only when i keep inverting until I have triad and of course then the bottom note is the root note. Some of these chords are not standard triads thats where my knowledge ends i am afraid. If i cant have root note i cant write bass, no bass no tune and so it goes on.
Im no expert, but the 2nd note of the first chord does not fit.
If you take that up or down one seminote you`d be on the key of E Minor.
i think
Re: Big melodies
| quote: |
| Originally posted by Sonic_c What if the chords go out of scale is that allowed? |
A maj
G maj
E min
D sus4
C maj
D maj
not a chord (F# sus4 with no 5th) -- i bet this sounds weird
B aug
did those quickly so might not be 100%. i have to think your F#sus4 sounds off in this thing but who knows.
really this track is in A natural minor or C major with resolvent between the two.
Hope that was some help
| quote: |
| Originally posted by Zombie0729 A maj G maj E min D sus4 C maj D maj not a chord (F# sus4 with no 5th) -- i bet this sounds weird B aug did those quickly so might not be 100%. i have to think your F#sus4 sounds off in this thing but who knows. really this track is in A natural minor or C major with resolvent between the two. Hope that was some help |
I'm seeing the following:
notes (bottom up) = chords
E/C#/A = Amaj (2nd inversion)
G/D/B = Gmaj
E/B/G = Emin
D/A/G = Dsus4
C/G/E = Cmaj
D/A/F# = Dmaj
B/F#/E = Bsus4
B/E/D = Bmin (w/added 4?) - this one's weird. It could be a second inversion of an Emin7 chord with the 3rd implied??? It's one of those cases where it depends on the context. My suspicion w/o hearing it is that it is simply a continuation of the previous chord, with the 5th (F#) resolving down to the third (D) and the fourth (E) suspended through the chord to give both a sense of resolution and tension.
It's hard to say what key it is in without hearing where it resolves, but it's definitely NOT in Cmaj or Amin. The F# is prominent throughout, so it's possibly in either Gmaj or Emin. However, that leaves the Amaj chord (containing a C#) as the odd non-harmonic chord. Typically, that would be something like a secondary dominant chord that would resolve to Dmaj (or perhaps Bmin or even another secondary dominant, such as Bmaj), but in this case, it's not resolving there. The other, more likely, possibility is that the progression has two sharps (F# and C# [from the Amaj chord]), making the song in either Dmaj or, more likely given the final chords, Bmin. That would leave the Cmaj chord as the non-harmonic chord built on a diminished ii note, which also doesn't fit "traditional" progressions (e.g., secondary dominants). That doesn't mean it's wrong or anything, it basically just means that you're "borrowing" a chord from a relative scale, not that uncommon in modern music and, if it sounds good, that's all that matters. That said, the final progression (Cmaj | Dmaj | Bsus4 | Bmin(sus4) OR II(dim) | III | i(sus)) does not seem like it would be a very strong progression for resolving to a Bmin. Hard to say without hearing it.
Now, if you could just post an audio example, we could hear where it resolves and that would probably confirm the key.
you guys are so helpful im reading books studying at uni everything but im not there yet frustrating sometimes but i will get there. I post audio in a min
Just chords with basic pad
[[ LINK REMOVED ]]
Where im goin with melody borrowing notes from chords this iMO is why i like
[[ LINK REMOVED ]]
Please note that it started with chords over one bar and i thought why rush so i put chords over 2 bars but withot a lot going on it can seem drawn out
The chord at 24/52 seconds sounds totally out of whack with everything else.
http://www.musictheory.net/
Educate yoself Fool.
/mr t
I am educatin maself fool!
Just started a 3 year degree course in music my teacher is composing a concierto excuse spelling for a phd, so if that dont help then nothing will.
Thanks for help guys
I think the chord progression is nice, but it doesn�t resolve as well as it should(could?). If you could post the midi, I can make some changes to it, if you would like!
to OP
Using neapolitan sixth may help when you are suffering from boring IV-V-I cadenzes?
Also all your notes tend to move to same direction when changing the chord making them sound very separated?
What instrument did you use to make those supersaw sounds?
Vanguard detune 3 saws apart and mess about
Music theory?
Whats that =]
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