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seeking tutor (pg. 2)
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| Looney4Clooney |
| quote: | Originally posted by Robotrance
It is therefore however a little problematic that Loonie says that A minor and C major is the same, eventhough its technically true, it feels different in the body. A minor (or any minor) is "sad", C major (or any major) is "happy" eventhough its the very same keys - its how human emotion reacts to what is the sub/base note, second and third and whats separate A minor from C major eventhough the keys are the same. I think Loonie have ADHD and lacks the empathy thing of music and therefore having a hard time explaining it this way, he is just way too technical almost like a robot trying to explain love lol.
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only problematic if you don't really understand music theory and how it is a framework. It isn't a theory. It is a system to organize sonic relationships for a certain style of music. Major doesn't have to sound happy, minor doesn't have to sound sad. Empathy has to do with being able to understand what people are feeling. Nothing to do with music. Music theory is technical and that is why it is really limited.
What is problematic is when people that know very little start prescribing things like use all white notes. I have posted a progression years ago in a pop idiom with a descending chromatic bassline. Every 12 notes used. It sounds completely pop and not one chord sounds remotely weird. I posted it for the same reason you mentioned play just these notes. The point is that knowing too little makes you think things should be a certain way when they aren't. There is a threshold of teaching the topic one needs and most people are not even close to it.
A minor can be contextualized as a temporary focus on vi of c major. Symphonies might have 2-3 minutes where this happens but the key would still be considered major.
Most dance is not in a key. 90% is in aeolian because you don't get a dominant. Or you could say it is in a major key using an evaded cadence. The point really was to show how the posters issue with wanting to be able to play stuff in both keys is silly if you understand what keys do. If you want to use theory, then you go by the definitions agreed upon. I'm not being pedantic anymore than one should.
and you should probably not assume that someone has a disorder because you don't understand the topic. |
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| TranceElevation |
| :stongue: |
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| Kthought |
I'm going to maintain a discussion
so i set up a root chord building into the first break of Dm, and then progress as if Dm is the root, fluffle some D only octave arps around it and play all white notes, melodically and harmonically. If i'm not mistaken, this is C Dorian mode? this is the only time ive been able to succesfully color my sound for awhile to my ears, then after a bit it didn't sound any more interesting. Maybe another mode is better, and probably, playing in Dorian only is just as good as playing in major only, and mixing them would be ideal. |
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| cryophonik |
| Are you playing a B-natural at all? In terms of notes, the difference between D minor and Dorian is that the sixth note in D min is a Bb, whereas in Dorian the sixth note is a B-nat. |
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| Looney4Clooney |
all modes are the same if you don't provide context. Modes have a purpose in a jazz where they are played over chords that loosely folow a tonal context. Scales on their own are completely useless except for asians so that their minds don't blow up from no input. 5 alive
if you want to learn theory and sound like every pop and trance hosue artist, you are looking for western tonality and i suppose some minor additions that the early jazz era added. Forget about modes. Forget about scales.
start listening to music. Conceptualize how chord changes sound and figure it out. Memorize it. Add it to your lexicon.
You would be better served using your ear than all this pedantic theory that is the stuff you learn before actually learning theory and has no use on its own.
You've basically learned the letters of the alphabet. Put someone around a bunch of asians and they will start to speak asian. Music is the same. |
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| Mise |
| I agree with clooney, I've learned the hard way thou, I used to figure out scales chords progressions etc etc. For EDM, music theory is not mandatory at all, the best way is to develop the ear, listen to music, and if it sounds good then is good. |
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| Evolve140 |
| lol my heart goes out to anyone whp has to overthink ot thos much. cant you just sit down and make music without giving yourself all these self imposed blockades? |
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| Evolve140 |
| just sit in front of the keyboard and play. keep trying. if after a few months nothing os clicking for you, its probably not a bandaid learning theory can fix. it's an unfortunate misconception that learning or studying music theory will make you more musical. |
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| DJRYAN™ |
biggest key for me is creating a groove.. w/ out a groove your track has no basis for progression.. your groove can be spoken.. such as using your microphone and speaking a cadence, and then mirroring that w/ percussion elements, using velocity changes and or different sounds, to having the groove become your riff. Usually using bongos will help to not only create a groove but the beginning of a riff as well.. allowing your tune to progress. I'd also have basic "time" synth or percussion element as well.. so when you hit a break.. you can bring it up.. until you want to introduce the next element. Without a groove, and with a clock.. its really tough to make EDM.
As far as chord progressions are concerned.. I'm not really going to discuss keys.. You could know absolutely squat about chord progressions and draw one.. Its about sound. One could use two chord, chord progressions, 3 chord, chord chord progressions, or 4. It makes a lot of sense, throughout the rest of the track to use 4, because in most instances, that will allow you to roll-up your riff (taking the first few notes and repeating them for a build)
I will say that not all chord progressions are true chords.. 3 or more notes.. especially w/ vocals.. It depends on the track.. So if you can't seem to find that harmonic 3rd note.. it probably doesn't exist.. Use one of the other keys, an octave higher or lower.. matching the chord progression.
If you're needing to use elements that you've created and turn them into a song. But you're at a loss.. think Sasha and just build it out.. do your transitions on the 16, 32, 64.. but nothing to advanced.. Once you've got a basic build-out to your track, then you can make subtle changes on an 8 or 16 beat phrase.. Usually build=ups or fx. |
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| Looney4Clooney |
| would love to hear an example of "groove" Your WIP was a quantized turd. That means 0 groove because you have 0 tension . |
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| MSZ |
| I believe in you DJRyan, dont let anyone else tell you otherwise. |
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| kevin shawn |
Throw some notes at it.
2122122 Minor
2212221 Major |
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