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Old 10-01-2012, 04:49 PM   #41
Life Is Brutal
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Originally Posted by :-D
another question quickly derailed by useless walls of garbage that are largely for self-aggrandizing over the internet under a thin veil of "oh this is really helpful advice" rather than anything useful

congrats on this thread


Ikr, that's why I've just been focusing on my music classes and haven't stopped in here for awhile.

I might start again, just for teh lolz.

On topic, you use an accidental to create a descending line in the chords.

G-F#-F-E

Just hit F# over the D Major chord to get some use out of it, other than that, your progression is just in C Major.
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Old 10-01-2012, 04:59 PM   #42
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Originally Posted by Life Is Brutal
Ikr, that's why I've just been focusing on my music classes and haven't stopped in here for awhile.

I might start again, just for teh lolz.

On topic, you use an accidental to create a descending line in the chords.

G-F#-F-E

Just hit F# over the D Major chord to get some use out of it, other than that, your progression is just in C Major.

Or is it...

Gmajor.
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Old 10-01-2012, 05:20 PM   #43
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Thanks for all the...uh, advice? I did get the chord by moving the open C major chord up 2 frets to make the D chord, or what ever freakin chord you'd happily call it(:

@Sleepy_Head Thanks for your really constructive feedback, i've found that to be the most reassuring information i've heard in a while(:

Cheers(:
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Old 10-01-2012, 05:39 PM   #44
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Old 10-01-2012, 11:02 PM   #45
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Originally Posted by chronowarp
No, it's the 3rd & 11th. A m2 is more disruptive than a tritone.

The function is obscured, which is why it isn't typically used.

Think about it. Cmaj... maj#11 is used because of 7th and 11th...(B-F=tritone). So you raise it B-F#. Now you've got another tritone between the root and the 11th...so why did you change one tritone just to create another? E F=m2, E-F#=M2! No more m2s in the chord!

Think about commonly used sonorities...Can you think of anywhere that you'll typically find a m2 inside a non-dominant type chord? Then think about how many internal tritones you can find in non-dominant functioning chords.


Maj(add11) - nice

Maj7(11) - not so nice

Maj(add11) are used frequently.
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Old 10-01-2012, 11:10 PM   #46
Life Is Brutal
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Originally Posted by chronowarp
Or is it...

Gmajor.


Nope, resolves to C.

Also, the G and F natural are more prominent than the single use of the F#, so they outweigh it, and you can call the F# a passing tone with little weight in comparison.

Quote:
Maj(add11) - nice


1-3-5-11
3rd-3rd-7th

Quote:
Maj7(11) - not so nice


1-3-5-7-11
3rd-3rd-3rd-Tritone

Quote:
Maj(add11) are used frequently.


Because they don't have the tritone between scale degrees 7 and 4.

Maj7(#11) are really awesome though.
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Old 10-02-2012, 02:18 AM   #47
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Originally Posted by griffRG7321
Maj(add11) - nice

Maj7(11) - not so nice

Maj(add11) are used frequently.


...I'm not the one saying certain sonorities don't exist or can't be used...but you're disputing why, historically, Jazz players have avoided that specific sonority. That...is the main reason why. A tritone might as well be a M3 to a jazz player...the m2 is more dissonant, and is historically what people have tried to avoid in jazz harmony.

I personally don't mind the sound of the 11th on top of a major chord, but it really depends on the voicing.
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Old 10-02-2012, 02:22 AM   #48
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Originally Posted by Life Is Brutal
Nope, resolves to C.

Also, the G and F natural are more prominent than the single use of the F#, so they outweigh it, and you can call the F# a passing tone with little weight in comparison.



1-3-5-11
3rd-3rd-7th



1-3-5-7-11
3rd-3rd-3rd-Tritone



Because they don't have the tritone between scale degrees 7 and 4.

Maj7(#11) are really awesome though.


lol,
you really think so?

Play it. Better, record it and improvise something over it. id love to hear.

You can only see one instance of F/F# anyway so neither is more common in the progression. also...having a bunch of G's internally in the chords doesn't mean much of anything.
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Last edited by chronowarp : 10-02-2012 at 02:24 AM.
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Old 10-02-2012, 08:09 AM   #49
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Originally Posted by Hail
soMEONE pLUNGED a dAGGER dEEP iNTO gOD'S cHEST


Now I've read that and re-read it. I've constructed a useless mnemonic from it, looked up & listened to the original song (meh, I keep trying but metalcore does nothing for me).

I'm beginning to wonder if it was an obscure cry for help.

Either that or I've entirely missed the point?
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oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
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Old 10-02-2012, 08:16 AM   #50
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@Sleepy_Head Thanks for your really constructive feedback, i've found that to be the most reassuring information i've heard in a while(:


You're welcome.

Don't be thinking about 'what scale do I play' - that's the kind of question you get from someone who's sitting an exam; instead think 'how do I want this to sound' - that's the kind of question you get from someone writing music.

Don't try and reason your way out of a bad passage, just keep playing it until you know which bit you don't like, then write something else.

And if you're stuck you can always try using Eno's Oblique Strategies. They can be a bit, um, oblique sometimes but that's the point really. Doing art - any art - is about a thinking, emoting person responding to the world (or some aspect of it), not a mathematician trying to calculate the infinite.
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oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
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Old 10-02-2012, 11:50 AM   #51
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Originally Posted by Sleepy__Head
Now I've read that and re-read it. I've constructed a useless mnemonic from it, looked up & listened to the original song (meh, I keep trying but metalcore does nothing for me).

I'm beginning to wonder if it was an obscure cry for help.

Either that or I've entirely missed the point?


METALCORE? excuse me, i'm gonna go kill myself

kezia is an acquired taste tho, it took me a couple years to appreciate it and now it's probably my favorite album of all time

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Old 10-02-2012, 01:11 PM   #52
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METALCORE? excuse me, i'm gonna go kill myself

kezia is an acquired taste tho, it took me a couple years to appreciate it and now it's probably my favorite album of all time

Killing yourself is so last year.

Life is the new death.
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oh shut up with that /mu/ bullshit. fidget house shouldn't even be a genre, why in the world would it deserve its own subgenres you twat
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Old 10-02-2012, 01:47 PM   #53
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Leave Metalcore alone (srs)
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Old 10-02-2012, 10:52 PM   #54
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Originally Posted by chronowarp
lol,
you really think so?

Play it. Better, record it and improvise something over it. id love to hear.

You can only see one instance of F/F# anyway so neither is more common in the progression. also...having a bunch of G's internally in the chords doesn't mean much of anything.


That second chord is a tonal clusterfuck based around a pentatonic scale.

I'm playing as if the entire thing was in C Major and adding that F# over that clusterfuck of a chord, and its working fine.

V-?-IV-I in C Major.

The only other option would be I-?-bVII-IV in G Major, and that makes even less sense.

Treat the IV-I as some kind of Plagal Cadence, like in Church music. There's only one F and F#, but the F natural occurs after the F#, which says that it resolves to C Major.

Wait, what are you trying to argue here? The above says my every thought over those 4 chords.
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Old 10-02-2012, 11:19 PM   #55
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Originally Posted by Life Is Brutal
That second chord is a tonal clusterfuck based around a pentatonic scale.

I'm playing as if the entire thing was in C Major and adding that F# over that clusterfuck of a chord, and its working fine.

V-?-IV-I in C Major.

The only other option would be I-?-bVII-IV in G Major, and that makes even less sense.

Treat the IV-I as some kind of Plagal Cadence, like in Church music. There's only one F and F#, but the F natural occurs after the F#, which says that it resolves to C Major.

Wait, what are you trying to argue here? The above says my every thought over those 4 chords.
You seem to be quite enamored of the C major chord pulled up 2 frets to the D position. "Cluster****",wow, now there's a term of endearment and self admiration for having created it.

The truth of the matter, that "progression" is a hackneyed country cliche that usually leads back to G major. The fact that even I can play and use it, is testimonial to its basic nature.

However, this is MT, where we are allowed to laud even our most basic accomplishments!

Advanced, "thought" on the subject dictates that "scales, modes, and possibly even keys", are "dumb and useless".

With that being said, you could obviously resolve the "issue" as you see fit. Heck, just hammer the F# on D-4 to G,whack that a time or two, then play the C chord. At just before that moment in space time and sound, you'll find you're playing nothing more complex than Em7! (Unless you wrap your thumb around the neck and hold G3 on E-6. Oh wait, that's still Em7... I think we have a huge musical breakthrough here, don't you?

Anyway after we go back to C major open, personally I'd do a bass run from C3 on A-5 to G3 on E-6, play a big G Major open chord, then take my bow, 'cause it still resolves heavily to G major. Just close your eyes and let it happen....

Hey wait, that's IV, V, iv, IV, I....never heard of that before.

(One caveat. You have to lift your index finger off the D on B-2, to get the 3rd of the Em7. Meh, let the guy on bass play the 3rd. Never mind).

This chat has really got my creative juices flowing. I may have to write a country song in its honor.... "O, Liddy-Anne, I luv ewe sewww"! Dude, it's only a start, OK?

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Old 10-03-2012, 01:26 AM   #56
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Originally Posted by Life Is Brutal
That second chord is a tonal clusterfuck based around a pentatonic scale.

I'm playing as if the entire thing was in C Major and adding that F# over that clusterfuck of a chord, and its working fine.

V-?-IV-I in C Major.

The only other option would be I-?-bVII-IV in G Major, and that makes even less sense.

Treat the IV-I as some kind of Plagal Cadence, like in Church music. There's only one F and F#, but the F natural occurs after the F#, which says that it resolves to C Major.

Wait, what are you trying to argue here? The above says my every thought over those 4 chords.


Makes less sense...how?

When you hear the F in that series of chords it's clearly the chromatic harmony. But it's pointless arguing like this. Post a recording of you playing over it like it's based around C. I want to hear.

That chord is only ****ed up, in that, it doesn't have a pretty name. Like he said, and as you can hear/see, he just slid up a Cmajor voicing without barring...it's not that bizarre.
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Old 10-03-2012, 01:35 AM   #57
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"Cluster****",wow, now there's a term of endearment and self admiration for having created it.


That's literally the best way I can describe that tonal cluster. Its a god damn 5 note D major scale.

Quote:
The truth of the matter, that "progression" is a hackneyed country cliche that usually leads back to G major. The fact that even I can play and use it, is testimonial to its basic nature.


I've been analyzing too much classical music, I was under the impression he CADENCED it on that last C Major. Yeah, if you repeat it and eventually conclude on a G Major, I would say that the key is G Major. If you end on the C Major, its going to be C Major though.

Hitting the F after the F# though DOES NOT do it any favors for trying to pull to G Major.

Quote:
With that being said, you could obviously resolve the "issue" as you see fit. Heck, just hammer the F# on D-4 to G,whack that a time or two, then play the C chord. At just before that moment in space time and sound, you'll find you're playing nothing more complex than Em7! (Unless you wrap your thumb around the neck and hold G3 on E-6. Oh wait, that's still Em7... I think we have a huge musical breakthrough here, don't you?




Quote:
That chord is only ****ed up, in that, it doesn't have a pretty name. Like he said, and as you can hear/see, he just slid up a Cmajor voicing without barring...it's not that bizarre.


Its a tonal cluster, I don't care about the voicing, it doesn't have a clear cut function to it. The best I see it, all its doing is introducing the F# to imply a G Major tonality.
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Old 10-03-2012, 01:36 AM   #58
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g a r b a g e .
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Old 10-03-2012, 01:38 AM   #59
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g a r b a g e .


lol

:-D
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Old 10-03-2012, 01:46 AM   #60
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That's literally the best way I can describe that tonal cluster. Its a god damn 5 note D major scale.



I've been analyzing too much classical music, I was under the impression he CADENCED it on that last C Major. Yeah, if you repeat it and eventually conclude on a G Major, I would say that the key is G Major. If you end on the C Major, its going to be C Major though.

Hitting the F after the F# though DOES NOT do it any favors for trying to pull to G Major.







Its a tonal cluster, I don't care about the voicing, it doesn't have a clear cut function to it. The best I see it, all its doing is introducing the F# to imply a G Major tonality.


Like you said...you've been studying too much classical music.
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