#1
So I was trying to find some really creepy and scarey riffs for a song and its in Fminor. So, I saw somewhere when you take a Fminor and I IV V it. Then, I IV V those you should get some notes that sound good with Fminor. So, I played around with it and it sounds really good. I'm pretty sure i got this right, but would stiff like a confirmation. Oh, and if you have any other tips for some really creepy and scarey riffs I would love to know!
#2
I'm not quite sure what you're asking...

As far as creepiness goes, chromatic playing can sound very creepy, as do diminished fifths.
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#3
Play a G diminished scale and screw around with that. It's still in Fminor but you can make odd 'creepy' intervals.
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#5
You take the first interval of a first? I dont understand...

The other two what he/she is saying is you take the fourth of the fourth.

Same as the fifth.

But how do you I a I chord???

Chromatics work well. So do diminshed fifths... I actually wrote a funk bass line using diminshed fifths the other day, kinda sounded like a mirrorthrone you could dance to...
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#6
Quote by Nottachance
So I was trying to find some really creepy and scarey riffs for a song and its in Fminor. So, I saw somewhere when you take a Fminor and I IV V it. Then, I IV V those you should get some notes that sound good with Fminor. So, I played around with it and it sounds really good. I'm pretty sure i got this right, but would stiff like a confirmation. Oh, and if you have any other tips for some really creepy and scarey riffs I would love to know!


F minor creepy? OK, I guess if you played it somehow and it sounds creepy... If you played it right, you should have F min, Bbmin and C7 or Cm...

It's common in Minor blues. The C7 is the V from Harmonic Minor.

Best,

Sean
#7
Ok so im sorry if I didnt make sense so what i did was take a Fm triad. Now the IV is an A# and the V is a C. So, I did the same with A#. The IV is D# and the V is F. Lastly I did the same with the C. So, the IV is F and the V is G.

So in the end Fm works well with: A#m, Cm, D#m, Gm.

I hope this clears things up.
#8
Quote by Nottachance
Ok so im sorry if I didnt make sense so what i did was take a Fm triad. Now the IV is an A# and the V is a C. So, I did the same with A#. The IV is D# and the V is F. Lastly I did the same with the C. So, the IV is F and the V is G.

So in the end Fm works well with: A#m, Cm, D#m, Gm.

I hope this clears things up.


Ok, now im lost...

(oh, and in F minor, we call it a Bb, the only A in F minor is Ab) <----- Those are the note names. The chords would be Ab and Bbm
Understand nothing, in order to learn everything.

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Last edited by vampirelazarus at Jul 4, 2011,
#9
Quote by Nottachance
Ok so im sorry if I didnt make sense so what i did was take a Fm triad. Now the IV is an A# and the V is a C. So, I did the same with A#. The IV is D# and the V is F. Lastly I did the same with the C. So, the IV is F and the V is G.

So in the end Fm works well with: A#m, Cm, D#m, Gm.

I hope this clears things up.


Bbm and Ebmaj. A# and D# aren't involved.

i get what you're saying here. i get what you're doing. the real question is this: how does this help you? how are you going to use this?

there are no certain progressions nor notes that sound creepy. it's all about the way you use them. i can take one progression, play it on a guitar, and it'll sound melancholy. i can take that same progression and orchestrate it -- and it'll sound terrifying.

if you think of things as a whole and don't limit yourself, you'll find it's easier to do things like this.

best course of action for now: find music you think is creepy, transcribe it, and see whether you can apply what you've transcribed.
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#10
Quote by thePTOD
Play a G diminished scale and screw around with that. It's still in Fminor but you can make odd 'creepy' intervals.


Pray tell what the notes are of the G diminished scale, and then arrange it starting and ending on F (where the song resolves to), then describe what the new scale is.
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#11
Quote by Nottachance
Ok so im sorry if I didnt make sense so what i did was take a Fm triad. Now the IV is an A# and the V is a C. So, I did the same with A#. The IV is D# and the V is F. Lastly I did the same with the C. So, the IV is F and the V is G.

So in the end Fm works well with: A#m, Cm, D#m, Gm.

I hope this clears things up.



Yeah, are you fine with being technically incorrect with your knowledge, while functionally having an "out" with the statement "works well"?

Best,

Sean