orgytime
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Posted : May 11, 2010 12:27
as the vikipedia explains, its like ghost notes on the HH or snares...
is velocity also the key here? i know some melodies where this happenes... i cant tell that there is a note, but i hear some kind of rhytmical stuff, and its NOT the percussions.
check 2:15
between the longer notes you can hear the thing
dj chichke
Chichke
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Posted : May 11, 2010 13:48
Quote:
On 2010-05-11 12:27, orgytime wrote:
as the vikipedia explains, its like ghost notes on the HH or snares...
is velocity also the key here? i know some melodies where this happenes... i cant tell that there is a note, but i hear some kind of rhytmical stuff, and its NOT the percussions.
happines or madness or any filing that you express at music it's because of your chord progression (bassline at our case) and the notes of the scale you emphasize.
if you use just notes from the chord it would sound happy. if you play a lot of half tones progressions it would sound evil. it's all about the spaces between your notes and chords.
TimeTraveller
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Posted : May 11, 2010 14:31
not really mate.Progressions are useful to play with the same mood and have change's for instance or change to another mood by having a relative note in both.
Major is defined as happy and minor as sad or different.
When you hear melodies for children you will find mostly all in major,minor would be too different or strange for them https://soundcloud.com/shivagarden
orgytime
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Posted : May 11, 2010 14:37
haha right, minor will be descovered as a teenager, when you got your heart broken for the first time looool nice^^
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Ascension
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Posted : May 11, 2010 15:44
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On 2010-05-11 11:06, orgytime wrote:
hehe ok, i let this info sink in... i think ill contact my guitar-teacher again^^ he knows that shit grrr..
Also think about how the notes progress up and down the scale. Even though C major and A minor contain the same notes, they progress in differing amounts of semitones since the root notes are different-and the underlying structure of major and minor differ (like how from B-C and E-F is only a half semitone).
http://soundcloud.com/ascensionsound www.chilluminati.org - Midwest based psytrance group
Shiranui
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Posted : May 11, 2010 15:56
Not all minor music is sad and not all major music is happy
TimeTraveller
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Posted : May 11, 2010 16:20
Quote:
On 2010-05-11 15:44, Ascension wrote:
Quote:
On 2010-05-11 11:06, orgytime wrote:
hehe ok, i let this info sink in... i think ill contact my guitar-teacher again^^ he knows that shit grrr..
Also think about how the notes progress up and down the scale. Even though C major and A minor contain the same notes, they progress in differing amounts of semitones since the root notes are different-and the underlying structure of major and minor differ (like how from B-C and E-F is only a half semitone).
c major and a minor is not really a progression,and as you said a minor has a semitone while c major has only full tones.
This is sth else,as I've written above.My english maybe lacks but this are more like counterchords of moods.
The classical progression contains the same notes,I could be wrong with saying above in one of my comments here that prograssions can change moods,it is more always the same moods ,you can change with progressions to a higher or lower octave for sure.
If you have a tune in c you could use it and walk up and down using progressions in same mood ,c for example.
c-e-g ,e-g-c , g-c-e would be progressions of the c chord.
Major will always be happy or that direction of a mood,of course you can use lower notes it would still sound totaly different when you'd use a minor chord in lower notes .
And happy or sad etc are only standard descriptions to get a bit more clear towards what direction it goes.
Bach has brilliant works in major.
Ascension
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Posted : May 11, 2010 16:32
The way I see scales is that they're only as good as how the composer uses them. You can write a track in some weird/interesting scale, but if you aren't really "using" the scale (different chord progressions you can get with that scale that you can't with others, etc), then there's not much point. Maybe I'm way off on this assumption, but I don't think there's an inherent uniqueness to just using notes in a scale, it matters how you use the relation of the notes.
I don't see many new producers or people without much musical knowledge getting the same effect out of using a unique scale. Not to say that we shouldn't, but just because someone writes a track in a unique scale doesn't mean they use it properly.
Am I way off on this assessment or what do u guys think? I don't have much music theory knowledge so I don't think I'd be getting the same out of using different scales other than normal minor and major.
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TimeTraveller
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Posted : May 11, 2010 16:36
mate I never have written something about uniqueness when playing thousands of scales ,espesially not here etc.
The only thing I have written here,I would not go to far with theory when not knowing even one scale good.
Playing an instrument in one scale and enjoying is the point,than all will go on imo.
I also have not a 'knowledge' this are only basics that I try to relearn,I had more a plan about it all when I was 7 https://soundcloud.com/shivagarden
Ascension
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Posted : May 11, 2010 16:37
