#1
Hello, MT. I come to you with a question of qualitative nature, mainly in reference to a chord progression that sprung from my strings last night. The tab is as such:

E |-------------------------|--------------------------|---------------------|
B |------11---10---10---|-------------10---10---|---------------------|
G |------12---12---10---|-9----10---12---10---|-10---8-----11----|
D |-8----14---12---12--|-10---12---12---12---|-12---10----9-----|
A |-10---10--------------|-12---12---------------|-13---12----9------|
E |-10---------------------|--------------------------|------------10------|

The chord progression, as I understand it (basically, without having thought about it in any serious depth in relation to context), is as follows:

Gm/D -> Edim/G -> Dsus4 -> Dm -> Am -> Dm/A -> Dsus4 -> Dm -> Bb -> Adim -> Bm/D


My question remains: Is this modulation (specifically to Bm, which in my head is confirmed by melodic elements which I have neglected to write) too harsh, seeing as it's out of the expected key (Gm) and somewhat unprepared? The intended effect is the feeling of having the floor cruelly blush from existence beneath you, or having one's heart gripped by some awful feeling of sundering. (I'm insane, I fear, for wanting to accomplish this with less than a semester of AP Music Theory under my belt. DX) I'm really seeking opinion here more than anything, though technical and analytical insight would be appreciated for its sake.
You might could use some double modals.
#2
I don't want to sound like a hippie, but when you get really into the technical side of things, you have to come back to the artistic side, too, and remember that music is art, so you can do what you want. If it sounds how you want it, then go for it.

I think it gives the effect you're looking for. It's pretty challenging, sonically, but if you like it, go for it.
#3
Quote by TextOnTheScreen
I don't want to sound like a hippie, but when you get really into the technical side of things, you have to come back to the artistic side, too, and remember that music is art, so you can do what you want. If it sounds how you want it, then go for it.



+1
shred is gaudy music
#4
Trust your ear. Theory will not help you out musically. Knowing how to voice-lead/write inversion symbols/etc. does not contribute to your contemporary songwriting.

i - vio - v - ii - v - III - iio - iii

I don't see any modulation. You are however borrowing from Melodic and Harmonic minors. If you feel it's right then it's right. Explaining why it's right is up to you but not nessecary.
#5
Theory will not help you out musically. Knowing how to voice-lead/write inversion symbols/etc. does not contribute to your contemporary songwriting.


O.o
If music theory never helped anyone out musically, and if voice leading didn't contribute to anyone's songwriting, the sky would be purple.
Last edited by Brainpolice2 at Oct 26, 2011,
#6
Quote by Brainpolice2
O.o
If music theory never helped anyone out musically, and if voice leading didn't contribute to anyone's songwriting, the sky would be purple.


the sky is purple...
however i agree