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Tips and tricks about music theory / composing for a semi-newb like me (pg. 4)
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| Mad for Brad |
any song with a good drum groove will have that technique. I wouldn't even call it a technique. It is just a natural thing that happens. You can't have everything playing at once so you need to orchestrate things to different sounds and such so you don't have too many sources vying for the listeners attention at the same time. . You can double instruments without too much distraction but often having 2 separate elements fighting for space is best left within their own space unless they fit together really good which would then be counterpoint I suppose.
It is also something that is important for creating a good mix. Too many sounds with not enough space will clutter a mix. That is why you would use this technique. |
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| cryophonik |
| quote: | Originally posted by Mad for Brad
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.
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And, just to clarify, this only applies to fully diminished seventh chords, not diminished triads or half-diminished seventh chords. |
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| DigiNut |
| quote: | Originally posted by Mad for Brad
How about AchonforBacon |
BoneForStalone has a nice ring to it. |
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| cryophonik |
| quote: | Originally posted by DigiNut
BoneForStalone has a nice ring to it. |
:haha: |
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| DjStephenWiley |
didnt read the wiki but the best example is the first blaring notes from beethovens 5th symphony
deh deh deh duh
it's something you'll always remember. stained in your memory. that is what a 'perfect' motif might be.
motifs are almost always going to resolve, meaning if you go up to begin, you'll go down to end and vice versa.
people get motif's confused with 'hooks' a lot. they are different things, but sometimes a hook, by definition, can be a motif. |
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| Richard Butler |
| quote: | Originally posted by cryophonik
diminished triads |
I thought this was a china town hobo |
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| Mad for Brad |
| quote: | Originally posted by DjStephenWiley
didnt read the wiki but the best example is the first blaring notes from beethovens 5th symphony
deh deh deh duh
it's something you'll always remember. stained in your memory. that is what a 'perfect' motif might be.
motifs are almost always going to resolve, meaning if you go up to begin, you'll go down to end and vice versa.
people get motif's confused with 'hooks' a lot. they are different things, but sometimes a hook, by definition, can be a motif. |
he asked about call and response , not motifs. The Beethoven 2 bar pattern doesn't really qualify. Then 2nd iteration is just transposed and doesn't deviate in any way. You would usually need the answer part with another instrument, same instrument but different register or different melodic content that finalizes a phrase. Generally for the classical period , you have your basic idea which is almost always 2 bars, and then some sort of response which is then 2 bars again. This is then repeated to form a tonal structure called a period. There is also the tonal structure called a sentence where the response part is the last 4 bars of the 8 bar pattern which is called the continuation.
and Richard, funniest music joke ever. If I ever teach in my old age, that one is going into the hat! |
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| JEO |
Ok, simple triads, nothing fancy. Just tell me what's wrong with it.
here
e major, c# minor, what ever |
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| Mad for Brad |
I would stop thinking in terms of right or wrong for one.
Your progression is a standard
i VII (sus4) iv / i III VII in G# minor
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vi V ( sus4) ii / vi I V in B major |
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| JEO |
Well it's really not that I think of it being right or wrong.. I just feel it's too simple, like you said "standard".
Going for a new one shortly. |
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| Mad for Brad |
| I would hold on to the B when the C# minor plays as you already systain it for the F# major chord. That way the unresolved tone does resolve itself despite not moving. It will make the harmonization a little richer. You could also sustain the G# as you do with the B. This is for the first half of the progression. |
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| JEO |
New, way more cheesy I think, but now I'm kind of satisfied with it myself.
klik
I'm more satisfied to how it plays with the pad. I lifted all thirds an octave higher. |
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