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psychedelic note/chords/keys etc
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dreadieg
IsraTrance Junior Member
Started Topics :
49
Posts :
478
Posted : Jan 15, 2011 18:32:48
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alright, so everyone seems to have a different idea of what trips ya out.
so lets hear it, what chord/key/note/progression etc make your day more... bent? tripped out? whatever.
i like Am Dm F and C...... also Em
as you can tell, i'm a music theory beginner  |
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : Jan 15, 2011 18:44
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Fuck knows, I can't name the scales I'm playing, only root notes.
Quite a few of the unreleased tunes we have are on Fsharp, which is Mars' resonant frequency, apparently. Sounds good as well as a note, I generally like playing the black keys.
Peace out.
http://soundcloud.com/martianarts |
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Mike A
Subra
Started Topics :
185
Posts :
3954
Posted : Jan 15, 2011 20:58
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Quote:
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On 2011-01-15 18:44, disco hooligans wrote:
I generally like playing the black keys.
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That's because the black keys are pentatonic scales (minor or major, depends where you start).
It's really hard to make something sound bad on the black keys.
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Freeflow
IsraTrance Full Member
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60
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3709
Posted : Jan 15, 2011 21:57
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also its soo easy to jam along with the black keys, you really cant go wrong
I should work more on the black keys i work way too much in A minor... I just love this scale and its soo easy. But i often experiment with lots of different notes....
for darker stuff i like Em
and for dark fast stuff C is perfect... but i guess it works in lots of notes, its just a matter of what people get used to work with and automatically reach for when they start noodling
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ohshit
IsraTrance Junior Member
Started Topics :
45
Posts :
605
Posted : Jan 15, 2011 23:52
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lol! i used A minor a lot when i was learning scales: to play just white keys is the most simple way -IMHO- to understand intervals
Now i am following those schemes, where capitals letter are major chords and the other are minors.
° means diminished, * means you can go anywhere.
Anyway i am realizing that even if those schemes are very useful the trick is to break rules rather than follow them. |
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Padmapani
Started Topics :
2
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431
Posted : Jan 17, 2011 05:30
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as long as you don't have absolute pitch it makes virtually no difference if you use Am, Dm, Em or any other minor scale. you won't hear the difference.
my favourite scales are phrygian, aeolian and to a lesser extent the spanish gypsy scale. |
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freechameleon
Started Topics :
0
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91
Posted : Jan 17, 2011 10:44
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it depends what you want to do or achieve. ;-)
as many i like minor scales, they are more soft and open and you have more possibilities for different chord progressions to still keep it more or less pleasent for the western ear.
best works if you don't stick to a single scale, it's boring, but just try to find chords that you like and that fit together and represent the mood you want to transmit.
the ancient modi - like ionian, dorian, phrygian - are not designed for chord music, it's just for melodies and you will notice it.
i really love the oldschool oriental feel, so with melodies i stick to scales that contain 131 in halfsteps and basically play around those steps to pronounce the oriental. just try it out, you'll love it. you can start with 1312131 it's cool. names are not important, as a couple of scales look like this.
most times theory doesn't tell you about the feeling you want to create, do it like most songwriters: jam around and what you like you remember and use. |
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Elad
Tsabeat/Sattel Battle
Started Topics :
158
Posts :
5306
Posted : Jan 17, 2011 15:01
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Elad
Tsabeat/Sattel Battle
Started Topics :
158
Posts :
5306
Posted : Jan 17, 2011 15:05
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Quote:
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On 2011-01-17 10:44, freechameleon wrote:
the ancient modi - like ionian, dorian, phrygian - are not designed for chord music, it's just for melodies and you will notice it.
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cant agree.. first Ioni and Dori ARE minor and major.. and there are defiantly chords that fit well with any scale. not your usual Am Em C G but abit more complex stuff
www.sattelbattle.com
http://yoavweinberg.weebly.com/ |
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Padmapani
Started Topics :
2
Posts :
431
Posted : Jan 18, 2011 03:57
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aeolian is minor  |
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freechameleon
Started Topics :
0
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91
Posted : Jan 18, 2011 11:09
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sure sure, you are right.
just there are modes and scales.
and at times where modes were most relevant, they were created for (multi-)melodic music. (they are called types of church tones in german, don't know the english)
it's a seperation that is loosing it's borders.
i'm fully aware that there are modes that follow the same half step pattern as some scales. it's just you don't build your chords in phrygian. you (can) write your melody in e phrygian above c major harmony. it is to do with where you put your tonal center and what feeling you want to create. (sorry i am missing some english words)
just to show the more common ones:
C 2-2-1-2-2-2-1 ionian
D --2-1-2-2-2-1-2 dorian
E ----1-2-2-2-1-2-2 phrygian
F ------2-2-2-1-2-2-1 lydian
G --------2-2-1-2-2-1-2 mixolydian
A ----------2-1-2-2-1-2-2 aeolian
B ------------1-2-2-1-2-2-2 locrian
some modes just didn't work as well as others..
it's the same dilemma as with natural minor. you can say 'it exists so it sounds good.' but in practice you don't use it a lot, because there are times where it sounds dissonant (=unusual to the western ear, still can be wanted!!) so harmonic and melodic minor had to be invented by changeing halfsteps sometimes.
but as i said in the post above, all is allowed and all is done as long as you like the effect it produces. music that sticks strictly to a scale without using minor instead of major sometimes, or lending chords from other scales or switching to the parallel scale is often missing emotion or tension.
enough said.
now i gotta check if there are really more chords than a e C and G. |
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monno
Grapes Of Wrath
Started Topics :
9
Posts :
454
Posted : Jan 18, 2011 13:51
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aciduss
IsraTrance Full Member
Started Topics :
112
Posts :
1490
Posted : Jan 18, 2011 17:23
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Well what i will write i just assume, it is personal thought nothing i can prove or be sure of but i will tell u that based on the note relationship between tones in a given interval our brain perceive sound as consonant or dissonant so certain intervals like a single semitone interval for example sound in a way "strange" like an exotic dizziness and that is similar to a psychedelic state in rhetoric way.
So... intervals like those in the phrygian mode (that diminished second) or oriental scales give a certain weirdness to a sequence, something spooky and trippy don't know if it has to do with our western minds used to minor / major scales only that it feels so refreshing when listening to other scales.
amen. |
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freechameleon
Started Topics :
0
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91
Posted : Jan 19, 2011 10:29
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this is very true.
and imo this cannot be explained by classical theory, just by trying out. it's all about finding out what one likes and what works at a certain part of the song/track.
dissonance can cause uneasiness and restlessness, hence it can be very psychedelic. as can be the tritone, the devil's interval, for example.
_for me_ the described halfsteps of 1-3-1 work perfectly, reminding me of old goa times with an oriental touch, causing instant psychedelic feelings and enjoyment for me. |
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TimeTraveller
IsraTrance Full Member
Started Topics :
80
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3207
Posted : Jan 19, 2011 13:07
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Is anyone writing is sth else than minor or major?
And what scales or modes or progressions of chords are sounding mystical to you ?
(I remember there was some minor I think f sharp or d sharp should sound very psyco along centuries I think paganini played this mood often but I'm not sure anymore)
..also anyone got that link to a chart which notes have what colour?
I like also gypsy and some indian scale that I lost the exact name but that I play the most or mostly at first What about changing scales in a track?
https://soundcloud.com/shivagarden |
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