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Not knowing how to make music. (pg. 5)
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| EddieZilker |
| quote: | Originally posted by Mad for Brad
Doubt that was Debussy. He used quartal harmony and whole tone scales along with late romantic tonal harmony but never touched upon 20th century serialism and the subsequent focus on numbers and intervals. I can see him talking about space though in a general sense as the harmony in his music is quite open with stacked 4ths or 5ths and little dominant resolution. The resulting harmony is less guided by tonal forces and can as you say float where it is and not have to be resolved in any one manner.
The first example, I did not really hear any counter melodies that stood out and played against the main melody. That is why it is called counter point, it counters. The second example, albeit counterpoint is a rather clumsy. Your voicing is very unusual. Having the melodies so close together with the same timbre and unorthodox voice movement and similar rhythm scheme does not enhance but rather makes it sound muddy. You definitely reduced space with the addition of the counter line. |
You da man! Thank you, very much, for indulging this.
I was more concerned with the second one, so thanks. Personally, there are a variety of reasons that song is muddy - the least of which are the trumpets but I definitely get your point. Regardless, I'm clearly confused on the term.
My now current understanding of counterpoint is that it pertains to intervals between any two (or more notes); the counterpoint of which is in a different key sympathetic to the primary melody, thus producing a desired harmony. Is this correct or am I over-emphasizing the importance of a sympathetic key? Wiki-peadia seems only to echo my previous understanding before delving into terminology like 'species counterpoint'. |
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| Mad for Brad |
counterpoint purely means 2 melodies that interact and counter each other. Species counterpoint, the traditional way of teaching it, does have certain guidelines regarding intervals including maximum leap of a melody, avoidance of certain intervals in certain settings like parallel fifths or octaves and the encouragement of certain intervals in certain settings like contrary motion or parallel 3rds. The classical period composers tended to see harmony as the resulting interaction of these lines that formed chords and not the other way around as we tend to do now.
All it really means in the end is 2 distinct melodies in rhythm and pitch that interweave with each other. There are many iterations of how counterpoint was used and taught thru out history and those guidelines are just guidelines if you are in a western tonality context. |
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| DJ Robby Rox |
| quote: | Originally posted by Mad for Brad
people progress at different rates. Years mean nothing. The fact that you suck and you have been doing it for 7 years is your deal and has little to do with the poster and his issue. |
Years are a measure of time you dumb .
Of course time matters. You will always have exceptions, but that doesn't change the fact that you're still retarded. Time/years = more practice = you get better at music. Its not rocket science.
The OP has 2 ing years experience, he's obviously not going to be making pro sounding tracks. But I'm sure you were with that crap ass track you submitted. It should be a requirement that you can actually make music before giving advice to other people. |
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| EddieZilker |
| quote: | Originally posted by DJ Robby Rox
Years are a measure of time you dumb .
Of course time matters. You will always have exceptions, but that doesn't change the fact that you're still retarded. Time/years = more practice = you get better at music. Its not rocket science.
The OP has 2 ing years experience, he's obviously not going to be making pro sounding tracks. But I'm sure you were with that crap ass track you submitted. It should be a requirement that you can actually make music before giving advice to other people. |
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| Beatflux |
| Robby vs Richie, again. |
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| Mad for Brad |
| quote: | Originally posted by DJ Robby Rox
Years are a measure of time you dumb .
Of course time matters. You will always have exceptions, but that doesn't change the fact that you're still retarded. Time/years = more practice = you get better at music. Its not rocket science.
The OP has 2 ing years experience, he's obviously not going to be making pro sounding tracks. |
The list of producers that had a release on a professional label in 2 years is rather large. Perhaps you feel you need to force this time line on others as you haven't yet made it in what would to most pros be a really really long time and instead of admitting that perhaps you kinda suck, you make up these stupid schedules. You are projecting your insecurities onto others and it is pathetic. |
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| DJ Robby Rox |
| quote: | Originally posted by Mad for Brad
The list of producers that had a release on a professional label in 2 years is rather large. Perhaps you feel you need to force this time line on others as you haven't yet made it in what would to most pros be a really really long time and instead of admitting that perhaps you kinda suck, you make up these stupid schedules. You are projecting your insecurities onto others and it is pathetic. |
Yeh? Name more than 2. And then submit proof that they only have 2 years experience and no prior background in music.
You are so full of . You're gonna dismiss time as a major factor in learning because "people improve at different rates"? Thats by far the stupidest grounds for an arguement I've ever heard.
I'm talking about people with NO PRIOR musical experience (same as the OP). There is no way in hell you're gonna find more than a just a few. Also, its possible to get signed on a whim because a producer more or less got lucky and had 1 good track. He's still not going to be consistently producing like that at such an early time frame.
Its one thing to say "time isn't as big a deal as you think" (its still a pretty large factor) its something completely different to say time doesn't matter or mean .
Under your logic, someone who started producing yesterday can be signed by next week. That is the most assinine thing you've said yet. "Years don't matter" hahaha... for MOST producers years DO matter. Now let me see your long list of producers who got signed with only 2 years experience... because I'm really sure theres a lot of them you dumb pathetic brad pitt loving waste of life. |
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| Kysora |
I'm just going to leave this here:
http://www.tindeck.com/listen/gchi
2 and a half years experience there, no prior experience beforehand.
Amazing? No. At the level of inexperience you're talking about? Also no. |
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| Aesthetic |
da da dad aradadada that was annoying. I was expecting something god like from you
| quote: | Originally posted by Mad for Brad
here is an example of a track I did long time ago, The main melody stays the same so it kinda becomes background once the second melody is there. You can still hear it but it doesn't interrupt the counter melody, The main melody is basically an anchor once the counter melody arrives.
http://www.zshare.net/audio/76314226d53f4e2a/ |
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| Aesthetic |
| ^ Nice clip btw Kyosera, really liked the chord movement in the break.. the saw pad patch sounded a bit too detuned for my liking but I liked the rest |
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| DJ Robby Rox |
| quote: | Originally posted by Kysora
I'm just going to leave this here:
http://www.tindeck.com/listen/gchi
2 and a half years experience there, no prior experience beforehand.
Amazing? No. At the level of inexperience you're talking about? Also no. |
Once again you skip past relevant detail in my post and try to prove something that doesn't mean anything.
I said there was "exceptions". 90% of producers are not going to consistently produce tunage like that in 2 years. I've heard some of your most recent work and shockingly thats one of your best tunes I've heard.
So it appears your actually devolving in production as time goes by.
Also, I make at least 1 track a year like that out of mere luck. Its the same as getting laid when your 16 by some drunk slut, I call that "fools mate", theres no real strategy or method behind it. You just fumble around trying to copy and get lucky one day. Lets see another track like that within 2 years. Thats the whole point of me using the word 'exceptions'. |
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