#1
Hey,

I've just read that statement in another thread and I think that it's right (it gives you that typical "occult" feeling. Dimmu Borgir use that alot), but I'm wondering why this is happening.
Let's pick two examples:

1: F-, D, C- (descending)
2: F-, D-, C- (descending)

The first one feels very occult for me, pretty organized and "punching/hard"
while the second sounds like taken from a graveyard-scene, it's softer and more dissonant.

I don't think that my knowledge about cadences is advanced enough yet. Any ideas?
^ seconded.

Äh, Sie wollen also mit Schlitz.
#2
Erm your chords are wrong, I IV V is major chords, you should use lower case i iv v for minor chords.
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#3
The thing that I notice right away is that your VI/vi's are built off the major (not minor) 6th degree, which is a bit unusual given that you begin with a minor i.

The second thing is that the second example features a technique that I can't remember the name of, but I will describe it. You move from one chord, to a chord a third away that has the same type of third. In your case, you've moved a minor third away from Fm to a chord with a root of D, and they both are minor chords. It doesn't sound quite in key.
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#4
There is no IV, just a VI.
And I've written them that way because there are two examples, and writing two function lines into the title is too much.
^ seconded.

Äh, Sie wollen also mit Schlitz.
#6
Quote by branny1982
would this be a dorian i - vi - v ??


This kind of information is what I'm looking for.
^ seconded.

Äh, Sie wollen also mit Schlitz.
#8
Quote by Philipp Sobecki
This kind of information is what I'm looking for.


well sure, if you try playing it with a Ddim and it sounds the same, then the sound you are asking about is simply the sound of a Dorian i - vi - v


no kidding... did i do something useful?
#9
Quote by Ibanez_rawker
i wish i knew anytyhing of what yall are talking about lol


Post Count +1

Are the "-"'s after the chords supposed to represent minors? As in, is "F-" the same as "Fm"?
Get baked, study theory.

Quote by :-D
Why are you bringing Cm into this?
#11
Unfortunatly, the Ddim sounds too static It has to be something different.
^ seconded.

Äh, Sie wollen also mit Schlitz.
#12

ahh well, it seems it doesnt fit any major mode then.


somebody MUCH more knowledgeable than myself will have to see which of the minor modes it fits

at the end of the day, if you find something that sounds cool, you dont need theory to explain it every time!!!!
although it helps when searching for a solo...
#14
I looked at all the notes in the chords and arranged them in order and I got:

1) F F# G G# A C D Eb

2) F G G# A C D Eb


I thought the A dim triad stood out when I played those as a scale, so I rearranged them to start with A.

1) A C D Eb F F# G G#

2) A C D Eb F G G#


As scale degrees from A those notes are:

1) 1 b3 4 b5 b6 6 b7 7

2) 1 b3 4 b5 b6 b7 7


Those look like they could be based on A locrian with passing notes, especially 2). A locrian seems to fit as well as any other scale I could try, but I really need to record a looping backing track of the chords to test if this is right.
Quote by VR2005
Very good post Marmoseti, you're on the right track.



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#16
You'll want to change your V chords from minors to Majors - Gives a stronger cadence. I remember I posted this chord progression in a few other threads a few days/weeks ago. Did you get it from me?
#18
Quote by Nirvana-Man
same!


That's because you like Nirvana, who never used any music theory whatsoever...
Stop whining and learn your theory!

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