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1 hour ago, psn said:

That's pretty funny coming from you. The last time I tried to discuss harmony in moderately theoretical terms on here, you replied with a half assed meme to the effect that music theory is a fool's errand, directly discouraging me from any further explorations.

i have no idea what you're talking about :shrug: doesn't sound like me at all but i have a bad memory. source? 

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1 hour ago, Berk said:

Can you post an example of this? Eg. Track and timestamp? Thx

 

Ideally one example of how it should sound and one example of how it shouldn't if it's not too much effort lol thx

How ae sounds:

 

How people in this thread want it to sound:

 

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The first time I heard that pitch bend at 5:10 or so I thought WTF is going on. I wish I could relisten to this track like that first time.

 

Edited by IOS
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26 minutes ago, brian trageskin said:

so anyway, anyone got any cool harmonic concept to share, or a chord progression, a question or anything? as long as it's related to harmony. i'm all ears.

this has always blown my mind, still learning to apply harmony so I have no clue what's going on here exactly.. also it sounds like they're singing about MIDI lol

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55 minutes ago, chronical said:

this has always blown my mind, still learning to apply harmony so I have no clue what's going on here exactly.. also it sounds like they're singing about MIDI lol

very cool modulations. someone to analyze the keys and functions (if any) in this? 

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6 hours ago, Wunderbar said:

c major is pretty neet, learned it today.

I spent a year learning c major and now I'm moving on to a minor

edit: genuinely didn't mean for this dumb post to sound like a Matt Gaetz quote

Edited by baph
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34 minutes ago, baph said:

I spent a year learning c major and now I'm moving on to a minor

edit: genuinely didn't mean for this dumb post to sound like a Matt Gaetz quote

Reminds me of a thing my grandpa used to tell me.

Fuck them before they can talk, so they wont tell on you.

 

Great man unfortunately he lost everything in the divorce.

Edited by Wunderbar
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14 hours ago, Berk said:

Can you post an example of this? Eg. Track and timestamp? Thx

 

Ideally one example of how it should sound and one example of how it shouldn't if it's not too much effort lol thx

Check my earlier post about f7

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Maybe you guys will enjoy a few examples of my favourite scale, the diminished scale (also called the octatonic). I love the sinister, otherwordly sound it has and I have used it extensively - obsessively even - in the past.

Three examples of Orbital using it brilliantly:
https://www.youtube.com/watch?v=IoI5614r2ps

https://www.youtube.com/watch?v=FEkrQPrE3Qo

https://www.youtube.com/watch?v=bioFSUjkS5U

One by Aphex:
https://www.youtube.com/watch?v=cgJq7RI-kWA

And one by Olivier Messiaen:
https://www.youtube.com/watch?v=KNR-zDwuABg

And I don't whether I should be tooting my own horn here, but whatever:
https://soundcloud.com/artificial-disco/our-robot-think-youre-a-robot

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i analyzed the chord progression of that FFX tune, i'm not sure it's 100% accurate but i did the best i could with my limited knowledge. it took me quite some time to be honest. 

the progression starts in D minor: iv - v - VII - VI - pause - VI again - then 2 chords borrowed from D dorian: v and IV - to E dorian, which is a deceptive cadence. 
the IV chord (IV in D dorian) is voiced with the major 3rd in the bass, so the bass motion is actually V-i in E dorian (dominant to tonic). hence why the modulation is so smooth. 
i don't think modulation is the right term though, since the tonic is only temporary. 

the next phrase starts with F lydian, the III chord in D dorian. so we're kinda visiting the key of D dorian again, but only briefly. the next chord is Ab lydian, which is then to be interpreted as the III of F dorian (btw one of the inner voices of that Ab lydian chord repeats the G-F-G-A-D motif we heard earlier, only an octave lower this time and without ending on D - also the note A creates a brief dissonance, very spicy). 
after the long pause, the final progression is Bb7 (the II chord in Ab lydian - not that we're in that key at this point but i thought it was worth mentioning that one chord led to the next) - Am7 - Ab lydian - pause - G13sus or something - Bb. 
the Bb7 to Am7 to A lydian move can be interpreted as a IV followed by a passing chord leading to the III chord in the key of F dorian (again).

that final chord sounds very unresolved for several reasons: the specific voicing is ambiguous, sounds more like G minor (its relative minor) than Bb major. also the previous phrase with the chromatically descending bassline builds up tension, which is then released by the Gsus chord, which then points towards its relative major (or resolves to G minor, depending on how you analyze it). super weak move, especially after the dramatic chords. the phrase sounds unfinished and ends on a bittersweet note, which is an unusual way to end a tune. 

please let me know if i made any mistakes or anything. anyway this is a super lush tune. 

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whoops, i think i forgot to indicate the flats in the roman numerals. let me correct this: 

the progression starts in D minor:  iv - v - VII - bVI - etc.

the Bb7 to Am7 to A lydian move can be interpreted as a IV followed by a passing chord leading to the bIII chord in the key of F dorian.

Edited by brian trageskin
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3 hours ago, brian trageskin said:

the Bb7 to Am7 to Ab lydian move can be interpreted as a IV followed by a passing chord leading to the III chord in the key of F dorian (again).

last correction i swear. sorry about this. mild OCD apparently.

Edited by brian trageskin
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3 hours ago, brian trageskin said:

i analyzed the chord progression of that FFX tune, i'm not sure it's 100% accurate but i did the best i could with my limited knowledge. it took me quite some time to be honest. 

You mean the AFX tune right? 😛

I haven't worked it through myself, to be honest. I might take a serious look tomorrow. I just noticed the familiar themes and feelings of the octatonic scale. There are sections that sound completely within the scale, like the one that starts at 3:14,  but most of them only borrow from it.

I think there is a score floating around, because I know Philip Glass did an orchestration of this. You could compare that if you don't want to wait for me to sober up.

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On 1/27/2022 at 3:35 PM, brian trageskin said:

very cool modulations. someone to analyze the keys and functions (if any) in this? 

Slightly off topic, but if u ever get a chance to see this, do it:

https://ffdistantworlds.com
 

Edited by Himelstein
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If we are on the topic of harmony, why do different intervals sound the way they do in terms of dissonance / consonance? Seems like the more simple the ratio of 2 tones the less dissonant they sound together, except not exactly because it still sounds consonant if its slightly off a simple ratio, despite the actual ratio being not simple at all (for example in 12tet, a fifth isnt a perfect 3/2, but is very close) so whats up here? Could be closeness to simple ratios, or something else like the frequency of the interference pattern, which is definitely audible imo. Maybe someone here will have a much better understanding and will be able to explain it

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damn it

13 hours ago, brian trageskin said:

the next phrase starts with F lydian, the bIII chord in D dorian. so we're kinda visiting the key of D dorian again, but only briefly. the next chord is Ab lydian, which is then to be interpreted as the bIII of F dorian.

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