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Old 02-01-2014, 01:39 AM   #21
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Re: which bits of music theory for this?

you seem to think theory is there so you can go 'alright this is what theory says so lets make a thing that goes like this'

it's actually there so that you can describe things you come up with. from jamming. people who start by going 'i have to do [thing] because theory says so' tend to make really shitty boring fuck music. jam, come up with something, use theory to examine and refine.

or just be a giant ass-baby and bitch at people who are trying to help you when they don't give the answer you were hoping for. you can do that too i guess.

besides, this is fucking aggrotech. it's not about being musical. it's about being harsh and screamy and boot-stompy. people don't listen to aggrotech to hear beautiful well thought out melodies that push the music theory envelope. they listen to it to hear angry noises and nasty kick drums.


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Old 06-01-2014, 03:40 AM   #22
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Re: which bits of music theory for this?

It's true music theory can be quite frustrating at first and can take a while to figure out, but it can come in handy once you get it. Ghyt is right. Music Theory teaches you the names of things so that when you hear a song that sounds like another song you can think "Aha! they are just using the dominant 7 chord to resolve back to the Tonic", or "I know that one that's a deceptive cadence" Then all of a sudden your brain starts categorizing different sounds created by moving from one chord to another. You'll stop thinking of things in terms of Notes or Frets and start thinking about the distance between notes and the quality of chords. When coming up with a melody I always try to use my ear first though. I'll put my bass line on a loop, and then grab whatever instrument I think I can use. Guitar, keyboard, synth plugins, jew harp, whatever, and mess around until I find the notes that work with the song. (Often the note that makes a song unique is the note that's not in the scale that you would expect to use) That's usually when my brain realizes what key I'm in and what scales are being used. Sometimes I won't figure it out, but I usually learn something by trying.

in C major they would be:

C E G - Cmajor
D F A - D minor
E G B - E minor
F A C - F major
G B D - G major
A C E - A minor
B D F - B diminished

OK.. SOOoooo.. what i would say is this.. if you wrote a baseline in c major that was C C E A A D G C.... you could view each of those notes as the roots of chords. then you could chose other notes from those chords for the melody. The main notes of the melody would be on the chord tones at the same time as the bass with some filler notes in between.

This is just a hack ass crash course way of going about it, but it's the only way I can think to get anything across in such a small blurb.

Of course, all of this depends on if you can figure out what key you're in. Also, if you are in a minor key things get a little more complicated.
If you want minor the same rule applies as long as you just make the 6th note into the 1st note

C major: A minor:
1 = C 1 = A
2 = D 2 = B
3 = E 3 = C
4 = F 4 = D
5 = G 5 =E
6 = A 6 = F
7 = B 7 = G

and so:

C E G - Cmajor A C E - A minor
D F A - D minor B D F - B diminished
E G B - E minor C E G - Cmajor
F A C - F major D F A - D minor
G B D - G major E G B - E minor
A C E - A minor F A C - F major
B D F - B diminished G B D - G major

A minor and C major both consist of only white keys on a piano. or natural notes (no sharps or flats) start here black keys are scary.

It always helps to find songs you like and try to figure out what key they are in. What notes they are using and how the chords assist the melody and bass. Have fun!
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Old 06-01-2014, 08:07 AM   #23
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Re: which bits of music theory for this?

Didn't read through the 2nd page of comments.

I loved taking 15th and 17th century counterpoint in college. But that's completely unnecessary for writing tunes unless you want it to be. It's all bound by the aesthetics of the music you are trying to write. If you're trying to write some super involved stuff, do it - hopefully heads will explode. Of course at least since Wagner rules in voice leading don't really matter; the rules are guidelines alone. If you're looking for places to in improvising ideas there are all sorts of jazz books out there that say "this scales over this chord" and can be a great resource. But it's one of those things where counterpoint doesn't write the music (unless you're Palestrina), it's only a description of conventions/practices which have already been done.


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