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Questions on modal scales
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jsrobinson
IsraTrance Junior Member
Started Topics :
29
Posts :
85
Posted : Jan 6, 2012 19:26:22
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Hi all,
So I've been messing around with chord progression in Phyrigian to try and create a slightly more psy-ish, darker harmony.
It's been suggested to check out Phyrigian minor in my practice, as I've been using Major, in the format of:
R-ST-T-T-T-ST-T-T
I've not been able to find the minor Phyrigian scale written in this format, which to me seems the simplest to understand when learning a scale. Can anyone spell out the Phyrigian minor, and dominant scales for me?
Is there a trick to converting a major modal scale of any kind into a minor or dominant?
What other scales are worth looking into for psy-ish material, from a beginner standpoint? I'm very new to chord progressions and one problem I was running into is making things sound way too happy and not psy-ish even with minor scale progressions. I guess a lot of psy doesn't use very obvious progressions, but tracks are still harmonized around them, so this has been hard for me to get my head around when applying some music theory.
Thanks for any input  |
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Equilizyme
IsraTrance Junior Member
Started Topics :
19
Posts :
593
Posted : Jan 6, 2012 19:41
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I come from a background of melodic instruments, piano, guitar, bass guitar. Working with psy I find that my experience with melody and harmonic structure is useful, but not as useful as a desire to explore weird noises.
For phyrigian: http://en.wikipedia.org/wiki/Phrygian_dominant_scale
the scale is written out on the staff there.
As far as converting scales you can just use the opposite (major/minor) of the sixth of the key you are working in [if you are playing in Cmaj, you can play the same scale starting on A and it will be similar to A minor.]
that being said, i think for psy, unless you are making super full on, i would shy away from progressions. everytime I make a song with some progressions it sounds cheesy. When I focus on the noises, the groove, and especially on making weird noises fit in place with the rest of the track; that is when the best results come.
many people (IMO) get too bogged down in music theory. theory is great and can help us make beautiful harmonies, but the applications with psy are limited. I think psy is more about moving away from the traditional view of music (progressions, structure, melody, etc) and into new realms (soundscapes, noise melodies, rolling bass lines, kick fills, etc). So i guess i would suggest you first learn your DAW/fav synths inside and out before getting too concerned w/ theory. Of course some theory is helpful along the way but i think you get the idea.
good luck.
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http://soundcloud.com/equilizyme
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the five assed monkey
IsraTrance Junior Member
Started Topics :
22
Posts :
145
Posted : Jan 7, 2012 12:45
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+1 |
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knocz
Moderator
Started Topics :
40
Posts :
1151
Posted : Jan 7, 2012 17:55
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Quote:
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On 2012-01-06 19:41, Equilizyme wrote:
many people (IMO) get too bogged down in music theory.
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-1
It's nice you have your opinion and I respect that, and I hope this works for you and you make great tunes you like - and have fun doing it! But the one thing I really like in psy is the ability to do what ever you want-> for me, psychedelic means interesting.
Knowing music theory can help a lot (more then it can harm), and you can go into really weird stuff really easy.
If you just play in aeolian or pentatonics, then your progression will sound cheesy, but try something in the augmented or diminished scale  I personally like to go to the chromatic scale for "circus like" groves
@jsrobinson
I use these a lot when wanting to learn scales and stuff:
http://www.all-guitar-chords.com/guitar_scales.php
http://www.pianoworld.com/fun/vpc/piano_chords.htm
Super Banana Sauce http://www.soundcloud.com/knocz |
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willsanquil
IsraTrance Full Member
Started Topics :
93
Posts :
2822
Posted : Jan 7, 2012 21:35
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its funny - I want to learn more about music theory and chord progressions and stuff, but then when I hear psy music that has chord progressions and stuff I usually find it really, really boring/cheesy.
When I started I was very focused on music theory - was under the impression that if you didn't follow an exact scale or didn't do it 'the right way' then it would sound bad. I would make songs ONLY in x scale, not deviating from what I thought was the correct path.
Now I just start with a root note and move shit around until it sounds good and my stuff to my ears is getting better.
I do wish someone had said, 'hey, try +3 +5 and +7 semitones from you root note!' to me earlier on though. That is very helpful
If you want to make an apple pie from scratch...you must first invent the universe
www.soundcloud.com/tasp
www.soundcloud.com/kinematic-records |
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Equilizyme
IsraTrance Junior Member
Started Topics :
19
Posts :
593
Posted : Jan 8, 2012 00:47
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Quote:
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On 2012-01-07 21:35, willsanquil wrote:
I do wish someone had said, 'hey, try +3 +5 and +7 semitones from you root note!' to me earlier on though. That is very helpful
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yes that is very good advice, in general the 3rd 5th and 7th sound awesome (for Cmaj this means E, G, and B)
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http://soundcloud.com/equilizyme
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Trip-
IsraTrance Team
Started Topics :
101
Posts :
3239
Posted : Jan 9, 2012 01:00
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I'd say that harmonic progression has almost no significance in this specific genre. It is based on a horizontal tonal potential, where the harmonic information is being divided, rather than harmonized. Moreover, since the lower tone is never inverted, harmonic progression is simply absent, added to the fact that it acts more as a supporting drone of one or two tones. Therefor I'd suggest to just go with what sounds nice to you, because the rules of the tonal codes do not apply - yet what powers the music is still common practice tonality and some other modal scales, without sticking to rules that brought them to us.
Just my few cents.
Crackling universes dive into their own neverending crackle...
AgalactiA |
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