brian trageskin
-
Posts
7,466 -
Joined
-
Days Won
17
Content Type
Profiles
Forums
Blogs
Downloads
Store
Everything posted by brian trageskin
-
seriously though, i think it's kinda weird how people here don't seem to care much about harmony. i mean there have been a few threads on the topic in the past but nothing really substantial. and don't tell me the folks here are simply not interested in discussing this topic and prefer educate themselves on their own, cause that's a fucking lie. how do i know? i've listened to your tunes in YLC, guys. the harmony's pretty bad (most of the time). no the truth is, the vast majority of watmmers don't seem to be interested in harmony at all, hence why the topic is hardly ever discussed - usually in a superficial way. there's this gap between those who know a little bit about harmony and those who don't, and the latter don't seem to give a fuck about chords, for some mysterious reason. this isn't meant to insult anyone btw. i know you guys are merely hobbyists and i respect you for making music, whether i like the results or not. anyways, harmony. entertain me. (please don't just post a fucking youtube tutorial)
-
re: the boc scale
- 241 replies
-
- 1
-
-
- composition
- 12-tone
- (and 2 more)
-
i mean i do use my keyboard to play music but i don't write music of my own.
-
i don't make music, no. i wish i did but i just can't find the courage to start learning how to use a DAW. pathetic, i know.
- 241 replies
-
- 1
-
-
- composition
- 12-tone
- (and 2 more)
-
but dude, haven't you heard that ignorance is strength? source: cupcake academy, jacksonville, FL
-
i saw that, toad. you naughty boy.
-
flol
-
i meant the harmony becomes E add11 when they play A over the E major drone. yeah that's a rather poor definition of tonal lol. besides, a 12-bar blues for example is tonal, yet it only uses one mode (mixolydian - or the blues scale). so tonal harmony has more to do with tension/resolution and harmonic functions than it has to do with changing modes, i guess.
-
taught others. yeah i'm not trying to teach anyone how to write melodies here lol. the only tips i gave were all from the zelda video i posted, i'm not talking about E minor pentatonic or E mixolydian pentatonic btw, i'm talking about this scale https://ianring.com/musictheory/scales/1209, which combines the 2. although to be exact, the BoC tune doesn't really explore this scale, they just play E minor pentatonic over E major. had they played the major 3rd in the melody, it would definitely be an improv on that mode. but at the end of the day, it's just E minor pentatonic with the occasional rub between the #9 (G) and the major 3rd from the chord (G#), and the occasional add11 sound (A). i think i know what you mean. i was whistling the melody from the chorus earlier and realized it doesn't stand alone as a melody. it's brilliant over the chord progression but pretty dull when isolated from it. i didn't post this as an example of a great melody anyway, i just thought it was above the rest of what i've heard on watmm recently. which says a lot about the musical talent of our fellow forum members
-
but to be clear, the tune sounds typically indian, not european or african-american. by isolating the intervals, we can see the similarities with other types of harmony, but the structure of the tune has nothing european or american. it's a modal tune, it explores the sound of a scale that's commonly used in india - unlike european and american tunes which are tonal in nature, meaning they have chord progressions that use different modes.
-
i meant halfway between.
-
the melody plays the E minor pentatonic scale over an E major drone. the G in the melody is where all the spice is, it functions as the #9 interval over that E major chord, which typically sounds bluesy. and the A gives that E mixolydian pentatonic tonality. the harmony sounds halfway through different musical traditions as a result, i'd say - western, african-american and indian.
-
yeah, the irony is i know what the word root refers to when we talk about chords in root position. for some reason i mistook the word root with the word bass note. the bass note is the lowest note of a chord (duh), whether the chord is in root position or inverted. yeah and the tonic chord is the same in french, "accord de tonique". i learned music theory in english though, not in french.
-
root = tonic of a chord tonic = tonal center of a scale ?am i doing this right? /last post for real
-
shit, i just looked up the definition of root very quickly and it's not much different from the tonic apparently. for some reason i always thought the root was the note in the bass, which isn't necessarily the tonic (could be any interval from a chord that's inverted). turns out i was wrong apparently. same shit for "fondamentale". root vs tonic: same shit? y/n /last post
-
i meant as the tonic. i always forget what root means exactly since the french use a totally different word, "fondamentale". i swear to god this is my last post for today.
-
oh and btw, obviously the 1st mode is dissonant because of the b9 and b5, like i said in the first place. no surprises here. but yeah, it's only dissonant if you clearly outline the tonic, in a modal way. hence my confusion for a moment here. yeah i'm sick of typing b2, it looks too ambiguous - are we talking about the stealth bomber here? b9 is pretty self-evident. /last post
-
holy crap i managed to make a non sequitur and a self-contradictory argument at the same time, lol. a non sequitur because the fact that the other modes aren't dissonant says nothing about why the 1st mode is dissonant, and doesn't invalidate the claim that the b2 and b5 are responsible for its dissonance (yeah i should add here that yesterday, when i said that the scale was dissonant, i meant the 1st mode - i was thinking of C as the root while playing the scale melodically). it's also a self-contradictory argument because what i said clearly suggests that the b2 and b5 are responsible for the dissonance. logic 101
-
i forgot to add i'm talking about using only the notes from a 4-note scale here, and no other note in the bass. otherwise no scale would be dissonant per se, you just have to pick the right note and play it in the bass. yeah that's not my focus here (although that's also a great topic).
-
yeah, this turned out to be half-right, half-wrong. i should have waited the next day to check that out on the keyboard. half-wrong for the 1st mode (the scale in root position), if you play the root as a pedal in the bass and you play the other notes melodically. then it doesn't matter what the 4th note is (you already have the tonic, the b2 and b5), you will always get the rub of both the b2 and b5 with the root, which is dissonant. not that dissonance is a bad thing, i'm just talking 4-note scales theory here. half-right for the other modes because you then lose the b2 and b5. literally no one gives a crap.
-
source: university of dessert, orlando, FL
-
actually mode 2 doesn't sound that dissonant, since the 5th of Gb is in the bass, so you still get that lydian dominant sound. somebody please put me out of my misery.
-
yeah once again i think i got carried away lol. i forgot that what matters is the root note, and if you play C in the bass, it does sounds very dissonant. it's a dissonant mode. mode 2 (Db in the bass) and 3 (E in the bass) are also dissonant. mode 4 (Gb in the bass) is the only one that sounds consonant, since it becomes a reduced blues scale.
-
1 hour later: it's also a blues voicing that comes from the blues scale. you could say that and you would be correct.
