The answer:
Post #84
History, tastes and trends change the answers.

 

There is surely, absolutely no answer in post #84, just an absurdity that you are pawning off as some legitimate authority derived truth. History concerns itself with the past and as of yesterday there are likely well over 10,000,000+ bands around the world, the players ranging from newcomers learning in the early stages of their musical experience to the world class players divinely gracing us with incredible gifts of soulfully executed and emotionally charged compositions in any genre or style that can be imagined. Tastes do change over time, we have a well documented time line, and if we so choose, to educate ourselves and build upon the foundation of tens of generations that have come before us to build up our knowledge base. Your argument is to me anathema to one who loves music and can appreciate art and artistry itself by dismissing true art and the craft of creation itself in favor for what is basically akin to choosing to eat at a crappy fast food restaurant when you could eat a wholesome and healthy homemade meal. There is plenty of room for those that can't or won't learn to be actual musicians who actually play musical instruments and instead rely on those musicians to create packs to mix and match. There can be art involved and I've heard some decent work, but to say that a trend dictates what is musicianship is absurd, ridiculous and no argument at all. The future will be defined by art created by artists learning their craft, their instruments and the appreciative listeners who support their hard work. #84 is just silly and settling for less for whatever reason.

 

I know we all have different various views on these things .

Would you be willing to work on music a group effort on here ?
Us making different things and posting it .
Like a open source thread of music ideas .
Building on what others posted that they made ?
Should we do some things like that on here?

( does your specific music theory perspective have a pragmatic component?)

I'd like to move in that direction on here.
Sure we talk about things, but
What can we create ?
( not in a contest way but I mean just creating music then others hear it they make something and like legos build things up )
Plus that can be a great way to expand the music theory is to hear examples of it used .
Or for people that ignore theory just create from ear and build off things.

The reason I say this .
My assumption is that all the users on Audiosex have different unique strengths and creativity from each other .

( if you think about that difference between working alone vs multiple people bouncing ideas off each other )

 

Someone, please close this thread.

 

There is no scale in music. There is only ONE NOTE. It's your logic.

Duality existed before the falling. Because Adam and Eve are duality, and they and the tree are. The creator and the creation form duality.

The light and the absence of the light form duality too. Yes/no, it exists/it is abcent. The absence gives birth to the lack and the desire.

Even Google works because of "yes" ("1") and "no" ("0").

The world we live exists because of duality. But yes, inherently opposite things are The One.

And The One is Nothing. They (almost?) don't differ.

But this is off-topic, another form of the duality...

 

Divine knows what music is all about:

 

Lots of nice comments in there (what I expect from Lois music passion)
But it's more fun to comment on the videos, especially as 3 of the 4 were new to me.
and this lets me discuss (my) musical prejudices.

Frank Zappa - Inca Roads (the only one I'd previously heard)
Zappa was always a mixed bag for me. Moments of leaving me cold and moments of brilliance - often within the same song. That's how this performance feels for me.

Hassan Hakmoun: Gnawa Trance Music
I couldn't squeeze myself into this one. The rhythms just left me feeling uncomfortable. It was definitely my prejudiced brain trying to force (almost quantise) those novel rhythms back into something that would be more familiar to me - so, my failing.

Moondog — Suite no. 1
Awesome, awesome, awesome. Would take a long essay to describe how many brilliant features pulled me in - instantly!

I'm always fascinated by how I have zero control over my actual responses.
From above - Gnawa Trance felt like a barrier to my brain whereas Moondog just sucked me in instantly - why?

Here and Heaven
This one delivered the funniest response for me. If you told me I was going into a room to hear an American country/folk track - and one involving a banjo! you might need to put a gun to my head to overcome my prejudice and get me in there.
So I start watching this track Here and Heaven, and there's an atmosphere within just a few seconds that screams 'this is special' and I am instantly mesmerised. And that being mesmerised was permanent for the whole track, gobsmackingly brilliant throughout.

And that's what some music does effortlessly - it takes my prejudices in full flight and tramples them into the dust.
But I've no idea why that sometimes does work and sometimes does not.
For me, I suspect rhythm is the biggest factor.
Obviously other features like melody, harmony, timbre, form, human musical brilliance, etc, do also really matter to sustain my interest, but rhythm seems to have a special gatekeeper role.
- Music with rhythm that fits me personally does pull me in - even if other features are dull.
- Music with no interesting rhythm can still easily pull me in.
- But music with (personally) uncomfortable rhythm can and does push me out.

Keep em coming Lois.

 

Last edited: Nov 27, 2021

@Ad Heesive Of course you didn't like everything as everyone has their own taste in music and art in general. What you of course didn't say was that Hassan Hakmoun sucked or wasn't relevant in the context of his ethnic understanding of what and how to play and didn't discount his music as relegated to the past...which is nailing the point of my previous post home. Hassan's music too is not my cup of tea but I saw him play a number of times in my friend's club in NYC called The Cooler and thoroughly enjoyed him live. Jedi billed him as The Jaco From Morocco. He touched souls in every instance that I saw him at the club.

Zappa can certainly be trying at times (many times all the time) but again if someone actually disparaged this iteration of his band as worthless (my favorite lineup) they'd be delusional at best and any critique not worth the air that was expelled concerning music in general. This song mixes genres and the musicians are amazingly talented and able to execute (they figuratively be killin' it). Man, any band with George Duke playing keyboards is unto itself an indicator of the highest of the high caliber players in any outfit. Zappa pushed him to open it up and experiment with playing synths...to our heart felt cheers.

Much of Moondog's music is transformative (here performed by Calefax Reed Quintet and is for some reason spectacular to anyone I've ever turned on to his compositions. You are not alone.

Wbat can be said of Goat Rodeo when it has without a doubt the greatest ever mandoline player in history Chris Thile, perhaps the finest celloist alive in Yo-Yo Ma, top tier bassist and multi-instrumentalists Edgar Meyer and Stuart Duncan. And rounding out with the perfect harmony over Thile is Aoife O'Donovan who is the perfect voice to round out this super group's live recording. Bla, Bla, Bla won a bunch of Grammys, yadayadayada.

So in summary, the future belongs to those that use AI software to create melodies and who search for sample packs to carve in the rest of their tracks, forgoing any need for the past foundation of great musicians to build upon and disavowing music theory in favor of some new and far greater ideals. I got it.

 

Here is the Scale...

CDEFGAB - the standard major scale mode (also called Ionian)

DEFGABC - dorian mode

EFGABCD - phrygian mode

FGABCDE - lydian mode

GABCDE - mixolydian mode

ABCDEFG - minor or aeolian mode

BCDEFGA - locrian mode



C major scale (a diatonic scale)

C (1) - d (2) - e (3) - f (4) - g (5) - a (6) - b (7)

C penatonic major scale

C (1) - d (2) - e (3) - g (5) - a (6)

Thank you

 

I am not going to waste my time or anyone else's here by giving you a list of music schools in the Northern and Southern Hemisphere's that have in their course lists digital music technology, contemporary pop, DAW's, synthesiser programming, audio engineering and pretty much most of what YOU believe does not exist.

Perhaps if you actually had used a search engine once in a while you may still be Foster instead of God knows how many incarnations this handle McGraw is by stating unfounded, unresearched, unsubstantiated superfluous comments that do not have the remotest grounding in fact.
There are very many music schools teaching modern music and modern techniques. You just have not bothered to look.

 

Hi , how are you doing ?

That is a different level of detail and topic than the 7 unique and distinct type of chord my friend.

What you are talking about there is the entry
Level information for the key of C major.

But , the 7 unique and distinct chords
Are a different topic and set of information than that .
Now, you can apply it to the context you are talking about, IF you expand the key of C major
FURTHER than you did there .

If we continue with what you started with
( which , good job by the way )

We get
Key of Cmajor
CDEFGABC

1.Cmaj7 CEGB........Tonic Function
2.Dmin7 DFAC.....Subdominant Function
3.Emin7.EGBD........Tonic Function
4 Fmaj7.FACE.....Subdominant Function
5.Gdom7..GBDF..........Dominant Function
6.Amin7.ACEG........Tonic Function
7.Bmin7b5..BDFA...Dominant Function

Now we can see that the 7 diatonic chords represent
Three different functions.

( the Function is the MEANING of the surface level chord ) * just like a sentence has a meaning in spoken language

Now, we can break up the key of
C major
by Functions

Tonic Function Cmaj
(Diatonic)
Cmaj7 ( C6 ) CEGB, CEGA
Emin7 ( G6) EGBD, GBDE
Amin7 ( C6) ACEG, CEGA

Subdominant function Key Cmaj
(Diatonic)
Dmin7 (F6) DFAC, FACD
Fmaj7 (F6) FACE , FACD


Dominant function chords
( diatonic)
G7 GBDF
Bmin7b5 BDFA


Then we have to expand the functions in order to get all the chords for each function in the key

( the diatonic chords are only the entry level )

Key Cmajor

Tonic function chords key of Cmaj
Cmaj7 ( C6)
Emin7 ( G6)
Amin7 (C6)
Bmin7 ( D6)
D7
F#min7b5 ( Amin6)
Aminmaj ( Cmaj7#5)
Cminmaj
Cmin7
Cmin6
Cdim7


Subdominant function chords in Cmajor
Dmin7 (F6)
Fmaj7(F6)
Fminmaj
Fmin7
Fmin6
Bb7
Abmaj7
Dbmaj7
Dmin7b5
F#dim7
F7
Ab7
B7
D7


Dominant function chords in key of Cmajor
G7
Bmin7b5
Bdim7 Ddim7 Fdim7 Abdim7
Bb7
Db7
E7
Eb7
Abmin6
Db6
Fmin7b5
Gmin7b5


Now , we have expanded
( what you wrote was step 1 )
To get the the point of
Being in key of C major and now we
Have the 7 unique distinct type of chord available to us
For EACH FUNCTION

( in the key of C major , that
The tonic function has every type of chord
The subdominant function has every type of chord
The dominant function has every type of chord .

Then we have 3 functional blueprints
That make up all chord progressions and song sections .

1.
The heros journey

[Tonic]/[Subdominant]/[Dominant]

2. The hero defeats the villian

[Tonic]/[Dominant]/[Tonic]


3.

A journey before the hero defeats the villian

[Subdom]/[Dominant]/[Tonic]


* note , you can duplicate the function on each end in order to make the blueprint an even 4 for 4/4

* you can " turn around " the order of a functional blueprint

* lastly to peice together the functional blueprints to make longer whole song sections .


[ simply plug in the chords from each function into the functional blueprint ]

 

Here is example in the Key of Cmajor
Of plugging in our 7 distinct and unique type of chord for each Function within the functional blueprints.

Key of C major

1. The heros journey
[Tonic]/[Subdominant]/[Tonic]
Cmaj/Fmaj/Cmaj
Or
Cmaj7/Fmaj7/Cmaj7
Or
Amin/Dmin/Amin
Or
Amin7/Dmin7/Amin7
Or
Emin/Fmaj/Cmaj
Or
Emin7/Fmaj7/C6
Or
Gmaj/Amin/Cmaj
Or
G6/Fmaj7/C6
or
C6/F6/C6
Or
Cmaj7/F#dim7/C6
Or
Cmaj7/Dbmaj7/Emin7
Or
Bmin7/Abmaj7/Amin6
Or
D7/Dbmaj7/C6
Or
F#min7b5/Bb7/Aminmaj



2. Key of C major
The hero defeats the villain

[Tonic]/[Dominant]/[Tonic]
Cmaj/Gmaj/Cmaj
Or
Cmaj7/G7/Cmaj7
Or
Emin/Bdim/Emin
Or
Emin7/Bmin7b5/Amin7
Or
C6/Bdim7/C6
Or
Amin6/Fmin7b5/F#min7b5
Or
D7/Db7/C6
Or
Bmin7/Eb7/Emin7
Or
C6/Gmin7b5/F#min7b5
Or
Aminmaj/Abdim7/Aminmaj
Or
Cdim7/Fdim7/Emin7
Or
F#min7b5/Abminmaj/Cmaj7


3. Key of C major
Journey before the hero defeats the villian

[Subdominant]/[Dominant]/[Tonic]
Fmaj/Gmaj/Cmaj
Or
Fmaj7/G7/Cmaj7
Or
Dmin7/G7/Cmaj7
Or
Fmin7/Bb7/C6
Or
F#dim7/Fdim7/Emin7
Or
Abmaj7/Bmin7b5/C6
Or
Dbmaj7/Eb7/Amin7
Or
F#dim7/G#min7b5/G6
Or
Dmin7b5/Db6/C6

 

FOSTER McGraw these two answered you.
FOSTER Try and contribute instead of attempting to distract people. You seem to be able to work out how to use the Internet and linking systems, try putting brain into gear the same way with music an look things up before using your mouth via your fingers.

 

woot
nice to see you MMJ

 

Same for yourself

How have things been ?

( i just been getting things togther for film making aspects )

 

hahaha this has to be foster....... MMJ is trying to explain that music is about sound and connection......u are "allowed" to do anything....however oepormgiwtbtgh may not be as relevant as TONAL

 

THIS IS THE FIRST production from my little studio MMJ hope u like it

 

MMj perhaps an example from a short piece of well known material how about the first 5 notes of "happy birthday" ??

 

foster have a listen to some BACH