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brian trageskin

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Everything posted by brian trageskin

  1. yeah sure, you don't need any of that to make music in this day and age. i'm by no means saying that the only way to write good melodies is to learn theory, train your ears and learn how to play an instrument. whatever works for you, sure. it all depends on what you're trying to achieve. the method i'm arguing for is imo the most appropriate if you want maximum control over your harmonies and melodies. it's just the fastest, most effective way to achieve that. yeah, you need to invest a great deal of time and energy at first to learn the basics, but the payback is phenomenal. however, if you're not looking for a specific type of harmony, it's probably a waste of time and there are other, simpler ways to improve your melodies, for sure. @thawkins i'm not thinking of you btw, i know you're formally trained.
  2. that's literally the 1st thing adam neely mentions in the video i posted, the inability to audiate, to hear sounds in your head. i would imagine only a tiny fraction of those who can't audiate won't be able to develop this skill through ear training though, for neurological reasons. but what do i know.
  3. sure but i wasn't talking about what melodies or chords could be played over that bassline, i was simply pointing out that you can safely say that the key is F minor, even though it could be F phrygian, because the phrygian part remains to be determined with the rest of the harmony, which doesn't exist (yet). so the in absence of a 9th, and until proven otherwise, F minor is the scale by default. that's what i meant when i mentioned modal intervals. but obviously you could be even more cautious and say that we can't determine the tonality with the little information we have, which is 100% true. yeah that's not what you pointed out lol. i was talking about a completely different thing, that is how we feel the pull towards a particular tonal center based on the melodic movement of the notes.
  4. shit, believe it or not but i didn't read this part lol. i was preoccupied by something else and didn't even pay attention. my post was unnecessary then. your point is valid. yeah it could be any number of scales depending on the rest of the harmony. no need to mention Ab mixo since it's part of the same scale as F phrygian lol. i should really pay closer attention to what i post. also i thought about this shit i posted earlier: yeah that's not what aesthetics means, lol. the worst is i've always understood what the word refers to but i chose to give a definition that has absolutely nothing to do with it. not that anyone gives a shit other than me, lol. i have to say i'm a bit disappointed that xox didn't point out my mistake, since he's the one who used the word.
  5. edit: i meant F is where the progression feels the more at rest. or F minor is the home chord. i mixed up 2 sentences.
  6. no i don't have perfect pitch, i played the notes on my midi keyboard and used my limited knowledge of theory to determine the tonality. yeah i don't agree that it could be any of these scales. first, i don't see the need of filling the gaps with modal intervals. yes, this bassline could definitely be in a number of different keys but in the absence of more indications, it's probably wiser to make as few assumptions as possible. could be in F phrygian - yeah, where's your b2? could be Ab mixolydian - yeah, where's your b7? better to assume by default that we're in a major or minor key until we're given more indications imo. second, as you suggested, what matters is where you perceive the tension, the resolution. and with this slightly ambiguous bassline (few notes + 9-bar loop or unfinished?), to me F minor is where the progression feels the more at rest.
  7. actually i'd say we're in F minor, not Ab major. which isn't all that different since F minor is part or Ab major and vice versa but still, it changes how you perceive the progression.
  8. kind of a weird question for several reasons. no scale is inherently good or bad, it all depends on how you use it + while your bassline seems to indicate an Ab major tonality, it all depends on what chords and melodies you play on top, and the fact that you gave us 9 notes is confusing, is this supposed to be a 9-bar loop or is the bassline supposed to continue after D#?
  9. are 1 and 2 supposed to indicate the octave (as in, this c#, not the one above or the one below)?
  10. yeah i mean, one should be able to improvise over giant steps in all 12 keys before even considering writing a melody, don't you think? totally agree. ZoeB suggested the same earlier itt (maybe others too, i can't remember). simplicity is the ultimate sophistication, they say. also, development is super important. this video explains how you can use short motifs, call and response and development to write great melodies (around the 7 minute mark - but i suggest you watch the whole thing, it's a great video) and here's what pat metheny has to say about the happy birthday song (i only watched this short bit) (i timestamped the thing) oh definitely. i took about 4 private lessons with a teacher a few years ago (i quit for personal reasons and never took a lesson after that) and the only time he made me improvise, he played something on the piano and asked me to play over it using only one note, which is great practice and makes you realize how you can express a lot just with one note. and it teaches you a lot about how music and melody in particular works.
  11. it certainly has an effect but i don't think it plays a big role in the end result if you're unable to translate your musical ideas.
  12. they've been installing the fiber-optic network for months now and one of the manholes happens to be right by my doorstep. technicians have been coming every 3 days on average for the past several weeks, opening the manhole and doing their shit for hours, right by my doorstep. which they just did once again. i talked to one of them, he told me this was their penultimate job. at last.
  13. that's because there's no meat, it's all one big lie, a fabrication, and xox is the main victim. the emperor has no clothes. delusional, rejected by his peers, they sing and sing "there is no meat"
  14. i do have the answer to music though, you're just too cringe to see it.
  15. maybe you think my approach is boring and limited by strict protocols and methods or something but it's really not. i've made super shitty music in the past and i've never experienced a tenth of the fun i'm having since i started learning theory/how to play piano. they say that limitations breed creativity and that's totally true if you know theory a bit, but i don't see the fun in being limited by total ignorance. there's no creative decision in that. it depends on what you're trying to achieve though. obviously you don't need theory if you don't give a shit about harmony.
  16. i got that the first time. aesthetics on one side (theorization/objective analysis) and personal taste on the other. also got that the first time. i just don't see the point in mentioning the pre-writing emotional state as it's only relevant if you have music skills, otherwise it won't dictate shit. but your limitations will. your inability will. they say that ideas are only as good as your ability to communicate them. too much wanking, i see... see, that's where you're wrong but yeah, peace out.
  17. why don't you explain yourself then? you seem to have plenty of time to reply to me, why don't you try to synthesize your thought and communicate it in an understandable way? it's not like we're discussing rocket science.
  18. i don't think it's a difficult topic. i don't see what's abstract about acoustic/temporal relationships. yes, there is subjective taste involved but other than this, it's all very concrete and can be discussed as rationally as any other topic imo. i'm totally fine with discussing aesthetics and personal taste but yeah, that's not what vkxwz was talking about. plus the topic at hand is how to write melodies, and i don't see how discussing emotions is helpful to answer this question. my personal take on this is that understanding harmony/how melodies work and developing your ear are the fastest ways to improve your ability to write good melodies. so music theory and ear training.
  19. i'm not saying this to be mean but jesus christ dude, your english really sucks lol. i know mine is far from perfect but holy shit, i still have no idea what you mean. your syntax is catastrophically bad and your posts are quasi-cryptic. it is nearly impossible to have a conversation with you because of this. anyway what i meant is, it doesn't matter what emotional state you're in before writing a melody if you haven't previously learned how to play melodies on your instrument of choice (or piano roll), because you won't be able to keep up with what your brain hears (please watch the adam neely video i posted if you haven't) since you're so awfully slow at finding the notes. now obviously, a solution to this is to record yourself singing the melodies you come up with and boom, problem solved. but that's not what vkxwz was talking about. what do you have to say about this?
  20. "You hear where" i don't understand the meaning of this sentence. please rephrase "You can hear your emotions and thoughts" what are you trying to say? please rephrase this thread has quickly turned to shit, i love it
  21. what? i have literally no idea what this is supposed to mean lol
  22. that's not what i meant, i don't know why i wrote that. i meant to say that ear training and knowledge of music theory give you the ability to quickly or instantly replicate what you hear in your head (or outside in the real world obviously), and jazz schools train you for this purpose, among other ones. but yeah, @vkxwz i'm curious as to what you thought jazz musicians were doing when they improvise. your emotional state is about as relevant as your opinion on jiu-jitsu if you're unable to replicate what you hear. it won't dictate shit imo.
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