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Tips and tricks about music theory / composing for a semi-newb like me (pg. 2)
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| EddieZilker |
| quote: | Originally posted by Mad for Brad
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As to why i'm back , big project over and I feel generous. |
Welcome home. |
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| Kysora |
| quote: | Originally posted by Mad for Brad
As far as the mention of scales. You can be firmly planted in a key and use every 12 chromatic pitches in a way that isn't deviating from the overall key whether be by suspensions, non chord tones, voicing an applied dominant. |
Are there any good readings that you know of that outline how to approach doing stuff like this? I know a fair amount of theory but to be honest I'm rather nervous about going into non-chord tones. I imagine it's a skill that requires experience in just knowing what chords/notes can follow in certain instances but I wouldn't know where to start with something like that. |
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| Mad for Brad |
well you can technically play every single chromatic note as part of a chord in one single key so you don't even have to venture off into non chord tones. IT is all about context and unlike what most people think, It can be done in ways that don't sound weird and forced.
You need to first understand how each scale degree can be supported by a chord in a functional manner using natural chords of the key. Then by using secondary dominants, substitutions, and modal mixture, you can easily voice and chromatic pitch in a way that doesn't sound forced or unnatural. As far as non chord tones, this can be just an dissonance resolve in the chord itself or carried over to the next chord which is resolved.
the book I suggest to everone is the Aldwell and Schacter harmony and voice leadning.
My view of theory is that unless you really learn it, it can sort of be crippling. You learn rules but you don't understand why they are there and you begin to compose based on these rules. Theory is useful once you've really grasped it than you understand what it is and what it isn't.
Progression
Just played a simple progression where the bassline goes thru all 12 chromatic pitches and it is clearly in the key of C and it sounds completely normal and boring. |
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| Kysora |
| Alright, that makes a lot more sense. Thanks buddy. |
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| Beatflux |
| quote: | Originally posted by Mad for Brad
the book I suggest to everone is the Aldwell and Schacter harmony and voice leadning.
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This book looks goooood. A lot of the books on Amazon seemed geared toward beginners. |
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| 19503 |
| quote: | Originally posted by Mad for Brad
Cryo isn't wrong but simplifies the matter. Diminished chords are divided into diminished 7ths and half diminished. Only having a diminished chord can take the form of both if it isn't stated explicitly in the text. Where as a half diminished chord occurs naturally in the minor mode on the super tonic and tends to follow the circle of 5ths behaviour(functional tonal harmony context), the diminished 7th ( which technically only occurs naturally in the minor harmonic mode) is much more volatile under normal tonal functionality.
Cryo is right in that B and F form a tritone but there are 4 ways to resolve any tritone. It could resolve as Cryo mentioned to a minor or major 3rd but also resolve outwards to a minor or major 6th.
It is also important to understand that there are only 3 diminished chords in the tonal harmony lexicon. Because the distance between each note is equal, C dim 7 is the same as Eb dim 7, but it is c dim 7 first inversion form. Enharmonically, they are the same. Just like there are only 4 augmented chords at your disposal.
Although there too many ways you could resolve these chords, it is probably best to use it as some form of dominant substitute. It does happen more than people think but often the omission of certain voices make it not so apparent. Tiesto's traffic is pretty much a dialogue between a minor tonic and a diminished 7 chord over the tonic pedal
As far as the mention of scales. You can be firmly planted in a key and use every 12 chromatic pitches in a way that isn't deviating from the overall key whether be by suspensions, non chord tones, voicing an applied dominant. There are also many tracks that do modulate keys from the build to the main drop and back again. There is not one chromatic note not part of any given scale that cannot be assigned a functional purpose within that key.A scale purely outlines a key.It is merely a framework but good melodies weave in and out of this framework adding tension when needed.
As to why i'm back , big project over and I feel generous. |
u make music seems as fun as math. your decoding destroys the magic that music is. well done. |
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| Mad for Brad |
| this is all basic stuff. |
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| JEO |
You don't like maths? What..
I especially ASKED for advice with these things, so no need to get upset for Brad responding.
That is all. |
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| Mad for Brad |
| my name isn't Brad, I'm mad for Brad. One has a gay innuendo and the other is a little egomaniacal. |
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| JEO |
| quote: | Originally posted by Mad for Brad
my name isn't Brad, I'm mad for Brad. |
Oh, well that explains why this thread took a turn for worse the minute you responded. |
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| MrJiveBoJingles |
| quote: | Originally posted by 19503
u make music seems as fun as math. your decoding destroys the magic that music is. well done. |
But math is fun and magic, too. |
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| Mad for Brad |
| quote: | Originally posted by JEO
Oh, well that explains why this thread took a turn for worse the minute you responded. |
how exactly ? |
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