The Secrets of Music. Hard to Find Info Techniques

Discussion in 'Education' started by MMJ2017, Apr 25, 2017.

  1. Peek

    Peek Ultrasonic

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    I do not agree with what you say. With none of what you said in this Thread. Indeed your words really made me sick and bad, to be honest. You seem envious, you talk like an envious person, looking for motivation to justify your envy to yourself.
    Then I suggest you to speak only and always for yourself and not in the name of us other users of AS. Don't be a spokesperson for the other regular posters, please. You should be aware that not everyone can feel represented by your words, so please speak only for yourself.
     
  2. MMJ2017

    MMJ2017 Audiosexual

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    You see, I can demonstrate the validity of the knowledge of music giving ability to do what the musically ignorant ( without knowledge) can never accidentally do
    ( How long would it takes for monkeys with a typewriter to type Shakespeare? Or Einstein's theory of special relatively?)
    How many guesses would it take for a musically illiterate person to accidentally play or write triad pairs .
    Isn't it funny how the triad pairs video ( it's just an exersise not even a song yet)
    Already sounds better than any top 40 billboard charts song?

    "+57:ggjgg yhgh. Ugghj hjhh "

    It's because the two above sentences are vastly different in the level of detail which really matters
    Depth and meaning.
     
  3. MMJ2017

    MMJ2017 Audiosexual

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    Paul Pi,
    I am wondering your take on whether my last few comment boxes regarding the music language technique called " triad pairs", along with the way in which I presented it ( simply giving demonstrable information about music knowledge)
    Coupled with the videos which contains sound exanples and demonstrations ( albeit not my own providing a written song or example of my own)
    Qualifies from your perspective , as being demonstrable evidence indicative of the conclusion
    That anyone spending time and energy.learn8ng music language will be able create better music than before they learned it?
    ( If not would you please be so kind as to elaborate my friend ?)
     
  4. Futurewine

    Futurewine Audiosexual

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    test if this post will make it to page 30

    edit: aah.. nope :dunno:
     
  5. MMJ2017

    MMJ2017 Audiosexual

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    You mofos haven't seen all I got yet.
    ;D
     
    Last edited: Jul 7, 2019
  6. MMJ2017

    MMJ2017 Audiosexual

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  7. MMJ2017

    MMJ2017 Audiosexual

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    Let's look a little bit deeper at triad pairs .

    We want to begin with a 7 note chord.
    We don't need to go too in depth about this part yet
    However just know that Lydian is a tonic 7 note chord ( the upper extensions are in unity don't clash)
    We want all 7 notes to sound nice in the chord .

    Let's take F note
    F
    Now add 5th above ( we know fifths are nice sounding)
    FC
    Another 5th
    FC
    Keep doing it.
    FCGDAEB
    Would you look at that
    It's all 7 natural notes
    That's why Lydian is unity
    FGABCDEF
    But we want the chord so
    F A C E G B D
    1 3 5 7 9 11 13


    Now to create triad pairs
    FACEGBD
    Remove middle note
    FAC, GBD

    That's called G over F
    A gmaj triad on top a Fmaj triad
    So we have triad pair#1
    Let's see how many we can make though.
    ( Out of F Lydian{ Fmaj13#11}

    FACEGBD
    ACEGBDF
    CEGBDFA
    EGBDFAC
    GBDFACE
    BDFACEG
    DFACEGB

    Now the context of each triad pair we are About to make is over top a Fmaj triad on bottom.
    We simply take out each middle note.

    FAC. FAC,GBD
    FAC. ACE,BDF
    FAC. CEG,DFA
    FAC. EGB,FAC
    FAC. GBD ACE
    FAC. BDF,CEG
    FAC. DFA,EGB

    Now we have 7 unique forms to work with.

    Let's select one of these 7 forms and begin to use it.

    FAC. DFA,EGB

    So we have a Fmajor triad in low register
    Then in high register Dmin triad Emin t

    Next we ignore the low FAC triad that is going to be the bass line and accompanyment .

    We have DFA,EGB

    Let's look at the DFA.

    We have 3 inversions
    DFA
    FAD
    ADF
    And each one we can ascend or descend.

    Start with just simple DFA
    Put D on end to get 4 notes
    DFAD
    Descending or backwards is
    DAFD

    So now we look at triad 2 Emin
    EGB
    GBE
    BEG

    And same as before forwards and backwards place root to make 4 notes.
    EGBE
    GBEG
    BEGB

    Okay now going back to our Dmin triad .
    DFA
    Let's visualize DFA EGB
    Our 6 notes
    If we zero in on D
    What are the notes before and after D ( in our 6 note pool)
    B D E
    Let's do this for each note in triad .

    B D E
    E F G
    G A B

    Look at this.

    Let's take DFAD

    Surround ( enclose ) notes of D with above then below than land
    E B D
    Surround F ( above then below then land
    GEF
    Surround notes of A
    BGA

    Let's add this to our triad itself

    Now surround the notes on the high note D
    DFA(EBD)
    DFAEBD

    Surround notes of A
    DFBGA

    Surround notes of F ( so above then below then land(
    DGEFAD
     
  8. itisntreal

    itisntreal Guest

    Check this dude out
    sound design to the fullest
     
  9. MMJ2017

    MMJ2017 Audiosexual

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    We are looking at our chosen form
    FAC.........DFA,EGB

    Now the low FAC is the baseline and accompaniment so we focus on the upper
    DFA,EGB

    Now for each note we are going to mentally visualize the note above and below ( from our 2 triads)

    BDE
    EFG
    GAB
    Do this for Eminor as well

    DEF
    FGA
    ABD

    So this
    BDEFGAB
    BDEFGAB

    Now we have a unique way to use the form

    Let's go back to our Dmin triad
    It's inversions
    DFA , FAD,. ADF

    Backwards ( from high notes to low notes)
    FDA, DAF, AFD

    Let's take go from low to high with Dmin inversions
    DFA FAD ADF

    Now on each high note we create enclosure with the above and below notes
    DF(BGA)
    FA(EBD)
    AD(GEF)

    Let's go from high to low
    FDA DAF AFD

    Now on each low note do a enclosure
    ( ex. Below then above then land so for F
    EGF.

    FD(GBA). DA(EGF.) AF( BED).


    You see we have a million options now to express our form

    FAC........DFA,EGB

    Let's take the two triads through their inversions
    DFA EGB
    FAD.GBE
    ADF BEG

    Now let's travel up then down next
    DFA BGE
    FAD EBG
    ADF GEB

    Let's travel down then up the next
    EGB AFD
    GBE DAF
    BEG FDA
     
  10. MMJ2017

    MMJ2017 Audiosexual

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    I suppose entry level beginners , people starting to make music day 1 can get something out of that sure . Just hit me up when you are ready for day two homey.


    Mssterclass... Step 1 hit big red button step 2 big green button lesson complete you just successfully mastered how to click on two big colored buttons!

    Holy sheepshit Batman!

    Stay tuned for lesson two where we will learn how too click on smaller less colorful buttons as well!
    Class dismissed!
    ( Wow recess already? ....)

    This lesson was brought to you by
    Rainbow polish for clown shoes

    A Stinky Pinkhole productions
    In association with
    Space station prison for flat earthers controlled by A.I.
     
    Last edited: Jul 7, 2019
  11. MMJ2017

    MMJ2017 Audiosexual

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    You see , we here
    At SpaceStationPrisonForFlatEarthersWithGlassWindowsControlledByA.I. Inc.(SSPFFEWGWCBAI Inc.z)

    Would like to provide you with a world in which every human being alive hasn't accidentally hung themselves attempting to tie the shoelaces of their clown shoes.

    A Stinky Pinkhole productions.

    ....oh wait or is it Pinky stinkhole productions?

    ....damn it I can never get that right .....CUT!
     
  12. MMJ2017

    MMJ2017 Audiosexual

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    Let's look at our F Lydian chord again.
    FACEGBD

    Now let's list out every triad pair in it.

    FAC.........FAC,GBD
    FAC.........ACE,BDF
    FAC.........CEG,DFA
    FAC..........EGB,FAC
    FAC.........GBD,ACE
    FAC..........BDF,CEG
    FAC..........DFA,EGB

    Now for each one of these triad pairs practice the following .

    All inversions of triad
    Up then down the other
    Down then up the other
    Surrounding the notes with notes from the other triad .
    Up one down the other whole surrounding the notes at end of each triad
    Alternating notes out of order and octave jumps mixed with all these patterns .

    All these thousands of playing options
    Are the chord Fmaj ( Fmaj13#11(Flydian

    Get your ears used to hearing these varietys of sound the triad pairs provide as an expression of a major chord ( Fmajor in this case


    Have a listen to this video someone made, of exploring the way triad pairs sound when mixing up patterns and rhythms
     
  13. MMJ2017

    MMJ2017 Audiosexual

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    We have covered the basics of triad pairs
    Going through the main concepts and patterns in general on how to use it.
    Let's go a bit deeper with it now .
    If we take D Dorian
    DFACEGB

    ( Subdominant ii chord of c major )
    We have
    DFACE G B
    13579.11.13

    So let's see our triad pairs available

    DFA........DFA,EGB
    DFA........FAC,GBD
    DFA ........ACE,BDF
    DFA..........CEG,DFA
    DFA..........EGB,FAC
    DFA..........GBD,ACE
    DFA.........BDF,CEG

    As before we are going to select of these forms to begin.
    DFA...........EGB,FAC

    We want to practice all the things as discussed before , but also begin to get into more expansive options .
    For example
    Say we take our inversions.

    DFA FAD ADF

    This is low pitch to high pitch direction .
    But let's do " octave displacement"
    This simply means shifting the octave even though notes are same as just playing low to high.
    We will shift higher octave as well as lower octave.
    So to begin let's take the inversions
    Add the first note
    higher octave ,while the rest notes stay same as before.
    DFA FAD ADF

    So we can see everything is same as low to high
    DFA FAD ADF
    Except that ones in
    Red are an octave higher than they would have been.
    This allows us more freedom over the sound instead of just sounding low to high pitch Everytime.

    What about going high to low?
    FDA DAF AFD
    Here is our plain high to low pitch
    Next we will octave displace by going
    down octave
    F
    DA DAF AFD

    You see now instead of just going high to low we expand the way things sound .

    Let's take a look at our form again.
    DFA..........EGB,FAC

    EGB GBE BEG
    FAC ACF CFA

    GEB EBG BGE
    AFC FCA CAF

    There is our inversion forwards then backwards .

    Let's first make a pattern of up then down the other
    EGB CAF GBE FCA BEG AFC

    Now we will
    raise octave of first note lower ocatve of second.
    EGB CAF GBE FCA BEG AFC

    Here we can see that we have expanded our sound options making it wider and more expressive.

    Please do this with all 7 forms discussed at the beginning.
     
  14. MMJ2017

    MMJ2017 Audiosexual

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  15. Paul Pi

    Paul Pi Audiosexual

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    At least by including video examples it becomes transparent it's a Jazz odyssey.

    If you'd originally titled your thread: 'The Secrets of Jazz. Hard to find Jazz performance techniques' at least it would've been clear what's here... indeed, a suspicious mind might conclude that the click-bait ambiguity was entirely purposeful, because you knew hardly anyone would have hit the thread if you did so. It would also explain why video links hitherto have been absent: placing well-presented youtube videos fatally undermines the claim that what's here is in actual fact either secret or hard to find...

    Fetishistically lost to stylized notions of elite sophistication, pure Jazz is just too clever by half for me. And imho you would do well to stop insisting that Jazz skills are essential to make meaningful music - 'cos that simply isn't true.

    ...er, hold on - are you a cyber AI jazzbot sent to confound and detract AS members from sonically thwarting future jazznet control?!? - the jazzy equivalent of Arnold Schwarzenegger?!?!! :woot:
    termi-bach.jpg
     
    Last edited: Jul 9, 2019
  16. Satai

    Satai Rock Star

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    @MMJ2017 , thanks a lot for your cool theory posts.

    I was wondering what you had to say about riffs, and motifs. For music styles where instead of flowing melodies or harmonies, we have essentially instantaneously grabbing dabs of sound that sit together rhythmically and interact as the track goes on, something perhaps similar to what Stravinsky attempted in the Rite of Spring in the classical world, but of course centered on the modern sequencer not the orchestra.

    What are the best methods you've found to build the catchiest riffs and hooks, taking into consideration that they MUST be short and hard hitting, memorable, stir you up inside? No time for classical-inspired triadic noodling or arps, how would you work if you were limited to very short phrases and had to invent the catchiest rhythmic/melodic hooks?
     
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  17. sir jack spratsky

    sir jack spratsky Producer

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    what a load of abject misguided nonsense.......if u dont want to read the thread....DONT OPEN THE F U C K E R....!!!!!!!!
    i find MMj intensely interesting and thought provoking.....im a 66 year old drummer who is trying to find gems of pitch information that helps me to express myself musically.....
    remember this from foster down

    IF YOU CANT FIND SOMETHING DECENT TO SAY......BE QUIET
     
  18. notsoloud

    notsoloud Guest

    Shhhhhhhh...... the drummer wants us to be quiet.
     
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  19. notsoloud

    notsoloud Guest

    Have you worked with Grammy Award winners? Rock and Roll Hall of Famers? i have. You don't understand music. You're a drummer. Leave the music to musicians and just do what we tell you.
     
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  20. If you read that article, you would get to the specialization. Specialization needs hard work in a specific task. Some people would equate the hard work in a specific task with obsession. It may be a harmful interest which stops oneself from thinking about anything else but what is the remedy when all the tasks have been divided?
     
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