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Old 02-05-2013, 01:22 AM   #21
raocho
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Quote:
Originally Posted by Angusman60
Why would you use Hypolocrian?... We aren't singing Gregorian Chant anymore.


Actually, that's exactly what I was going for. I came up with the progression for another piece that I'm composing. It's prog rock fusion. Sort of a cross between medieval chant and 80s synth rock with some Hendrixian chord comping during the bridge.

It's a really a great sound. I'll post it when I get a chance.
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Old 02-05-2013, 01:23 AM   #22
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Originally Posted by jazz_rock_feel
Okay, this is 100% a troll. It has to be.



Not trolling. Just looking for ideas. Is it normal to pick on the new guy around here?
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Old 02-05-2013, 01:31 AM   #23
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No one has ever come here with such dismal understanding of theory. We think it's a parody rather than an actual question. It's that bad. No other way around it.
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Old 02-05-2013, 01:54 AM   #24
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Oh....he was serious...wow.....


TS, your understanding of theory is extremely mangled. Reset and start fresh.
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Old 02-05-2013, 01:57 AM   #25
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Hendrixian chord comping...What...
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Old 02-05-2013, 01:59 AM   #26
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It would make sense that this is a multi but then again...we may never know.
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Old 02-05-2013, 02:05 AM   #27
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Originally Posted by raocho
It's even more dissonant than Cb Hypolocrian and the key of Gb diminished in a joint modulation with a tertiary modulation to Bbb diminished.

It's clear TS is still trolling us despite him insisiting he isn't. Bbb diminished?
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Old 02-05-2013, 02:06 AM   #28
Life Is Brutal
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Quote:
Originally Posted by raocho
I guess that you guys misunderstood me. I don't know why because my post was very succinct, but any anyway. This is an example of what I was talking about.



I'll post my own work when I get the time. I love the dissonance of the Superlocrian bb7, and I find G# Superlocrian bb7 to be the most dissonant key in all of music that I have had the time to experiment with. It's even more dissonant than Cb Hypolocrian and the key of Gb diminished in a joint modulation with a tertiary modulation to Bbb diminished.

Anyway. Any tips would be greatly appreciated.


I would much more easily say that you're playing in A Minor and are attempting to resolve upon the viio or use it as a pedal chord.

If it makes you feel better at theory I'll even let you say you're in A Harmonic Minor.

Quote:
It's clear TS is still trolling us despite him insisiting he isn't. Bbb diminished?


Enharmonic tones technically, but they're useful in showing how the chords are constructed through proper note names.

B(bb) Diminished would be B(bb)-D(bb)-F(bb) for instance.

But once you get into that many double flats you can probably adjust to an easier key to express it.

A Diminished is enharmonic to the B(bb) Diminished, and A-C-Eb would work much easier with only a single accidental required. If you're in Bb Major or G Minor, you don't even need accidentals.
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Last edited by Life Is Brutal : 02-05-2013 at 02:11 AM.
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Old 02-05-2013, 02:14 AM   #29
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Quote:
Originally Posted by raocho
Actually, that's exactly what I was going for. I came up with the progression for another piece that I'm composing. It's prog rock fusion. Sort of a cross between medieval chant and 80s synth rock with some Hendrixian chord comping during the bridge.

It's a really a great sound. I'll post it when I get a chance.

I made a similar piece, except it had a sick bass drop and a 12 minute tuba solo. We should collaborate.
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Old 02-05-2013, 02:20 AM   #30
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Originally Posted by Life Is Brutal
A Diminished is enharmonic to the B(bb) Diminished, and A-C-Eb would work much easier with only a single accidental required. If you're in Bb Major or G Minor, you don't even need accidentals.

That's what I was trying to insinuate, the point was that TS was trying to over complicate what is actually very simple.

Last edited by GoldenGuitar : 02-05-2013 at 02:31 AM.
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Old 02-05-2013, 02:37 AM   #31
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this guy makes the rest of this forum look like amateurs, jesus
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Old 02-05-2013, 02:48 AM   #32
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pretty sure the "not trolling" routine is simply further trolling
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Old 02-05-2013, 02:58 AM   #33
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Originally Posted by raocho
Will I get a good sound by resolving from the Superlocrian bb7 to its relative major of A Ionian?


I think you're probably trolling.

But you know, there's a small chance you're not, in which case I'll say two things:

a) try it and see

b) don't compose academically. Compose musically. Think of the sound you want to hear and play it. If it happens to be in the mixotrollian mode, knock yourself out, nobody cares. On the other hand, if you ask if going from scale X to scale Y will sound good, we can't possibly tell you because it's not about the scales, it's about the music. Pick any two scales and there's a way to go from one to the other that sounds good, and a way that sounds bad.
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Old 02-05-2013, 03:57 AM   #34
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Originally Posted by Xiaoxi
The Byzantine scale was useful until the Ottoman scale came around and totally annihilated it.

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Old 02-05-2013, 02:39 PM   #35
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Originally Posted by Xiaoxi
The Byzantine scale was useful until the Ottoman scale came around and totally annihilated it.


I fucking died.
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Old 02-05-2013, 03:30 PM   #36
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Originally Posted by TheHydra
I made a similar piece, except it had a sick bass drop and a 12 minute tuba solo. We should collaborate.



Wow. That sounds great. I'd love to work with you.

Funny that you should mention the tuba. Another piece that I am working on is a Middle Eastern/New Orleans jazz fusion piece for a quintet comprised of Tuba, 8-string guitar, sitar, trombone and contrabassoon. It's sort of like a Dixieland meets Arabia kind of thing. In the piece, I use the Arabian, Mohammedan and Hindu scales. Although, it's mainly a vamp in Fb Mohammedan. It's a really exotic sound. I'm calling it "Ragtime for Ragheads."

It you want to get in touch, hit me up at inspiredmucisian69@yahoo.com
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Old 02-05-2013, 04:25 PM   #37
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Fb....sorry I have to write this out: F flat...with all the useless double flats you have above..it makes sense....you must mean E..

but why try to make the simple almost impossible...Bbb..? why not just simple A...D# why not plain vanilla Eb...

what the hell is this..(key of Gb diminished in a joint modulation with a tertiary modulation to Bbb diminished.) Diminished is not a key its a chord quality...Gb/F# is the same dim chord as Bbb/Adim...there is no joint or tertiary much less a modulation..its the same chord

harmonic minor be dammed...


but...can you do it your way...of course...just don't pass me a copy of this work...I have sight reading standards...

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Old 02-06-2013, 04:39 AM   #38
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Quote:
Originally Posted by raocho
Wow. That sounds great. I'd love to work with you.

Funny that you should mention the tuba. Another piece that I am working on is a Middle Eastern/New Orleans jazz fusion piece for a quintet comprised of Tuba, 8-string guitar, sitar, trombone and contrabassoon. It's sort of like a Dixieland meets Arabia kind of thing. In the piece, I use the Arabian, Mohammedan and Hindu scales. Although, it's mainly a vamp in Fb Mohammedan. It's a really exotic sound. I'm calling it "Ragtime for Ragheads."

It you want to get in touch, hit me up at inspiredmucisian69@yahoo.com


my stomach's hurting oh my god
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Old 02-06-2013, 04:53 AM   #39
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Old 02-06-2013, 05:10 AM   #40
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Troll.
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