Im on to a new thing. And iv just nailed the hook. and the bass is flat with two bars of G, the hook is 4 bars and when the hook ends the bass wants to go somewhere but i cant figure out where.
this must be a common problem. is there tips?
more music theory (direction)
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the_antagonist
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Re: more music theory (direction)
how bout the root note?
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hurlingdervish
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Re: more music theory (direction)
i dont quite understand the question
but i think you mean that you don't know how to write the rest of the riff?
its hard to give advice there...the best advice i can give is to dick around underneath the chord loop until something sounds right
but i think you mean that you don't know how to write the rest of the riff?
its hard to give advice there...the best advice i can give is to dick around underneath the chord loop until something sounds right
Re: more music theory (direction)
"the bass is flat" ???
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
In my life
Why do I smile
At people who I'd much rather kick in the eye?
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Why do I smile
At people who I'd much rather kick in the eye?
-Moz
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the_antagonist
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Re: more music theory (direction)
Tone Deft wrote:"the bass is flat" ???
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
wow
Re: more music theory (direction)
First, try to figure out where the note wants to go and not where you want it to go. Start simple: up or down? Then, how far? Once you've got a handle on where it wants to go, then you can start controlling it. You'll very likely let it go there anyways, but make it go up hills and around corners first. Make it take an interesting journey before resolving.the_antagonist wrote:Im on to a new thing. And iv just nailed the hook. and the bass is flat with two bars of G, the hook is 4 bars and when the hook ends the bass wants to go somewhere but i cant figure out where.
this must be a common problem. is there tips?
Or, just move it to the root, the fifth or the fourth.
Re: more music theory (direction)
You never cease to amaze me brotha Tone mos Deftness...Tone Deft wrote:"the bass is flat" ???
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
Re: more music theory (direction)
H20nly wrote:You never cease to amaze me brotha Tone mos Deftness...Tone Deft wrote:"the bass is flat" ???
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
that's fucking elementary-
DangerousDave
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Re: more music theory (direction)
Sorry to hijack...but moscow Russia? or Idaho?
https://soundcloud.com/unearthproductions
beats me wrote:everybody around you thinks you’re a fucking idiot.
Re: more music theory (direction)
russia. the real thing. lolDangerousDave wrote: Sorry to hijack...but moscow Russia? or Idaho?
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timothyallan
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Re: more music theory (direction)
Hooo, you go girl!Tone Deft wrote:"the bass is flat" ???
to make tension, go up a fifth, G to D.
to release tension, go down a fifth, G to C.
to introduce emotion go to the 2nd, 3rd or 6th... A, B or E. (in ascending order of strength of 'pull' IIRC.)
go to the 4th for some of the same tension as the 5th but not as much. that would be a C. (C is a 4th up or a 5th down from G depending on where your root note is.)
the pull between the fifth and root is the strongest one in music.
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the_antagonist
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Re: more music theory (direction)
i mean the bass is flat in that it just goes G G G G G G G G ... now im hoping to go into D D D D with the hope of lifting the melody somewhere. not sure what the melody is from my desk at work but has G B and F in it.
im working in the key of G i think, so I might want to sharpen my F in the melody?
on a side note... in music therory and chord progression. I always see I IV V7
does the 7 just mean that a flat 7th is added? so the V chord of G becomes
D F A Cb?
im working in the key of G i think, so I might want to sharpen my F in the melody?
on a side note... in music therory and chord progression. I always see I IV V7
does the 7 just mean that a flat 7th is added? so the V chord of G becomes
D F A Cb?
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jeffplaysmoog
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Re: more music theory (direction)
hmmm... Well first off, if you are in the key of G, then the 7th for the root should be a major 7th (F#)... putting a minor 7th turns the I chord into more of a dominant (which is not necessarily what you may want, but then again - all that matters is what sounds good). Anyway, as far as what comes next it is dictated by A) Your melody (if you have something concrete, where does it want to go? (Find the note you like and then harmonize it to the key) or B) Your personal aesthetic. A few chords, however, that could lead you in the right direction (assuming you are in the key of G and are jamming on the root):
Bmin7 - iii
Amin7 - ii
C or cmin7 - IV or iv (that's one of the oldest tricks in the books - Major IV, minor iv, I - the voice leading it creates in the third of the chords is all half steps so it is often good to place in the soprano)
D7 - V7 (in response to your other question - you just need to remember the scale we are in. G major has only 1 sharp - F - so when you construct a V7 chord on the scale of G you get - D, F#, A, C (5th, 7th, 2nd, 4th - scale degrees). Since the C is usually sharped when we are in the key of D we call this a b7).
F - bVIII
I've been listening to a lot of Radiohead lately and playing through with them on keyboard and they really love to play songs that go from i to I7 (Morning Bell for example - aminor t0 Amaj7) - this gives you some interesting voice leading (two half steps - C-C# and G-G#). Anyway, just make sure that you are remembering the key and be playful and break some rules...
Bmin7 - iii
Amin7 - ii
C or cmin7 - IV or iv (that's one of the oldest tricks in the books - Major IV, minor iv, I - the voice leading it creates in the third of the chords is all half steps so it is often good to place in the soprano)
D7 - V7 (in response to your other question - you just need to remember the scale we are in. G major has only 1 sharp - F - so when you construct a V7 chord on the scale of G you get - D, F#, A, C (5th, 7th, 2nd, 4th - scale degrees). Since the C is usually sharped when we are in the key of D we call this a b7).
F - bVIII
I've been listening to a lot of Radiohead lately and playing through with them on keyboard and they really love to play songs that go from i to I7 (Morning Bell for example - aminor t0 Amaj7) - this gives you some interesting voice leading (two half steps - C-C# and G-G#). Anyway, just make sure that you are remembering the key and be playful and break some rules...
Mac Book Pro 2.33ghz, 2gig Ram, OS 10.5, Ableton Live 8 Suite, APC40
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gurumonkey
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Re: more music theory (direction)
it's sort of difficult to give advice without a little better direction. The V7 chord of I Is D F# A C.
If you're already set on a melody, a good first step would be to find out what chords from the key you are working in would fit for each note (This doesn't mean you can't change keys or borrow momentarily), but, for instance, if you are working G major your chords would look like this.
G - G B D
Am - A C E
Bm - B D F#
C - C E G
D - D F# A
Em - E G B
F#dim - F# C E (don't use this one).
You can tell if you are working in that key of your melody primarily uses F#'s instead of F's. If not, your chords would be a bit different. Once you identify all possible chords for each note or phrase of notes, try the melody with each of them and see how you like it. That will give you a good idea of the different possibilities for the sound.
If you can isolate the melody that you wrote and post it on here as an mp3, i can take a look and give a better idea of what options you might have.
If you're already set on a melody, a good first step would be to find out what chords from the key you are working in would fit for each note (This doesn't mean you can't change keys or borrow momentarily), but, for instance, if you are working G major your chords would look like this.
G - G B D
Am - A C E
Bm - B D F#
C - C E G
D - D F# A
Em - E G B
F#dim - F# C E (don't use this one).
You can tell if you are working in that key of your melody primarily uses F#'s instead of F's. If not, your chords would be a bit different. Once you identify all possible chords for each note or phrase of notes, try the melody with each of them and see how you like it. That will give you a good idea of the different possibilities for the sound.
If you can isolate the melody that you wrote and post it on here as an mp3, i can take a look and give a better idea of what options you might have.
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the_antagonist
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Re: more music theory (direction)
everytime i ask a music therory question I always get great answers. not that it makes easy sence.
sorry yes F is sharp in G. i knew this. the 7th is C yes.
Vii7 just means add a 7th. not add a flat 7th.
that makes sence.
i dont think the melody wants to go anywhere. i think the bass wants to go somewhere and I feel that if it does the melody on top will have some emotional direction.
does that make sence?
sorry yes F is sharp in G. i knew this. the 7th is C yes.
Vii7 just means add a 7th. not add a flat 7th.
that makes sence.
i dont think the melody wants to go anywhere. i think the bass wants to go somewhere and I feel that if it does the melody on top will have some emotional direction.
does that make sence?