>>54970607 someone told me my system was very basic stuff, but they didn't have the courtesy to name what i was talking about. i found out it's chord-scale system; anyone know of any other modal systems?
I'm one of those fags who believes music theory can hinder creativeness, but I think I have a basic understanding of it that works as well, if not better than most theorists who take it seriously. Can someone quiz me so I can know if I'm talking out of my ass or not?
>>54970694 >>54970633 dude the thread was full of "we don't know this shit and we'll never learn because it doesn't interest us enough" and yet they're spending their time on a music image board. i'm more or less trying to summon old boy from last thread to see if he knows any more about what i've been working on, because i wasn't taught this particular system, i just kinda figured it out, and i'd really like to learn how many similar systems there are out there before i go another ten years stumbling around trying to figure out wtf i'm doing wrong.
even with books and comprehensive lists, i feel like i've missed a lot. it's not that i've never had a teacher, it's that all of my teachers haven't known much about this shit.
Similarish story >Thread where someone is asking for more music like Ulver >Deleted 4 posts in >Grimes thread with nothing but a tripfag posting pics of her and anons saying they want to lick her asshole (0 music discussion) >Got over 100 posts, might still be up right now.
>>54970801 modes 101 i've been fascinated with functions, like the tonic, sub and dominant, but i'm kind of at a loss to where to go from here. obviously i've been focusing on chord-scale system like i said but how much DEEPER does it go? can you rec me some reading or something?
>>54970908 actually, they can. learn about modes for ten minutes and you'll see that each one typically represents a particular emotion, given that it's actually that mode of the relative key of the parent scale and not an entirely new scale in and of itself (BUT I'M SURE I JUST LOST YOU BASED ON YOUR POST FAGLORD) >>54970756 wish i woulda been there to tell that nigga to check out pic related
>>54970903 Modes are fairly basically formed and not that much practical use unless you want to play jazz, folk music, or very specific types of classical music. Jazz is about as deep as you can go. But before you get to that you better make sure you know the basics. Get some Bach chorales and do Roman numeral analysis of them until you start analyzing the music just by looking at it. Then start doing the same with Beethoven compositions. Then get the jazz theory book by Mark Levine.
>>54970973 i should have known by the :^), i almost posted pic related with my reply because it made me feel pretentious >>54970974 i already do that. are there more functions? that i'd like to read about. as it is when i write music i typically start on paper, arranging modes and structures to fit the emotion or genre i'm aiming for, then i pick up the instrument, double check my work, and add melody (i can't quite do melody on paper yet, ONE DAY)
>>54971018 This guy is 100% correct. Music Theory, which teaches you different techniques and can be learnt in a matter of two weeks, will completely diminish your musical ability and emotions. Seriously guise
>>54971018 lol THIS "if you travel without a map then won't you never end up anywhere ORGANIC. i mean if you know the end result, isn't it like, SOULLESS AND BAD?! what do you think pop ghostwriters do you fags. i mean shit i learned very quickly that i was obssessed with perfect fourth and fifth progressions, BECAUSE THEY'RE PERFECT, so i love they way they look. i can't tell you how many songs i've had working for YEARS, i read ONE FUCKING THING in a book, and finished it in five minutes. seriously it's a reoccurring theme in my life and a long time ago i decided i was fed up with it and i was going to learn all i could to save myself as much time as possible. i mean shit do you circle the block a million times or do you just ask for directions?
>>54970801 I dunno, it looks like G major sticks out pretty strongly in that progression. The first chord is Eflatmajor, and the bass sort of descends chromatically starting with Dflat. The first measure definitely remains an Eflat major, but those chords in the second measure look like they sound very confusing... The only thing that makes is the bass notes continue to descend chromatically. The second measure almost sounds sour, that confused me a lot.
There are definitely more functions, extensions, substitutions, and chord/scale relationships then what you will find in Bach and Beethoven. Jazz theory will get you deeper into that. For example how would you analyze these chords - >>54970801 since it seems like the guy I posted that to isn't going to respond.
Personally I don't really think it's a good idea to start writing music just on paper. I never do it that way but if it works for you I guess... Also sounds like you should probably get better at audiation skills if you want to write music away from your instrument.
>>54971792 see, i was thinking it was E minor, that's where i was getting confused ok, soooo lemme see, hm i knew looking at it there were gonna be some seventh and ninth fuckery going on. most of my studies have been centered in major and minor triads, haven't gone much into seventh and ninth (not an excuse, i just am not that familiar enough with them to quickly diagnose the chord shape when i see it). the treble clef looks like ii, ii, vi, IV IV to me, idk if the bass is supposed to be the same shit or not, but i'm working them seperately
>>54972320 throw some at me plox will do. idk why i thought it was e minor, i'm not that farmiliar with e flat i guess. i did the treble clef seperately because quite honestly (and this is really bad considering i made this thread) ii haven't been reading music much in the past two or three years, and i had to remember what notes were what. embarrassing right? oh well.
i've been thinking of getting a piano to help me out with sheet music familiarity, that's really waht i learned on a long time ago. but money, man :/ >tfw you'd rather blow important money on feel good stuff so you don't kill yourself
>>54972875 ear training i need a little, but not much. it's weird, i see sound (sound/visual synesthesia), so i can usually pick out really small changes in frequency. not trying to gloat or anything obviously i'm not perfect, but i'm usually pretty on with calling out keys and frequencies and whatnot. anyways i'll check that shit out and do a billion exercises i guess, won't hurt. thanks for the help man, more than i'm used to getting, but that was really my intention with this thread. i'll check back later but i'm sure it'll be closed, if i get further along and find some shit or have some questions i'll be to sure to make a new thread. anyways do you recommend anything after i do a bunch of exercises? obviously it's important stuff and based on how long it took me to half-ass the exercise you presented, i need more work, but what's next? (not that i'm planning on skipping ahead like an asshole know it all)
>>54972984 Well once you feel like you feel like you can analyze the first few measures of a Bach chorale just by looking at it for a minute or so then move on to some Beethoven, or Brahms. Work on those until you feel comfortable with them. Then maybe move on to some Debussy, Bartok, or Scriabin and analyze those, keeping in mind that those don't really function by the same rules as Bach and Beethoven. But analyze the chords anyway and see what you make of them. Then pick up a jazz harmony book and start checking that out- altered dominants, quartal harmony, advanced chromaticism... By then you'll "get it"
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