If you believe music theory is very easy, you're either a well-seasoned genius among us or an individual who hasn't yet grasped the depth music theory entails. At a superficial level, it can indeed appear easy, especially for those with a keen perception to distinguish key musical elements such as intervals, as I mentioned before.

I concur with the sentiment that relying solely on internet resources for learning music theory is a recipe for chaos. Consequently, I contend that highlighting the significance of critical listening holds greater importance than merely recommending theoretical approaches and formulas to the the OP.

Surprisingly, the practice of critical listening is often undervalued or overlooked. And while basic music theory skills can provide a foundation, their utility is limited unless accompanied by a commitment to actively engage with music through critical listening. In this regard, learning a musical instrument can serve as an invaluable aid, it implies a shift towards embodying the role of a musician rather than merely a "producer".

 

That cursory version of music theory is more than many techno producers start out with. How does a thread about techno basslines get derailed so far off-topic in only 3 pages? Foster. It's such a simple question, but some people will never miss an opportunity to inform us how great they are at whatever. (in only their own minds) . Wasting other people's time is the sole intent.

 

I agree, that's why I suggested what I suggested in the first place. That's how I learned to play the guitar. That's how me and some people in this thread started making music. I agree that it's a simple question if you're willing to reply with a formulaic answer to fix OP's problem. I just chose not to do that.

 

Music theory is the only way to save lives and the only way to solve various music problems. Music problems cannot be solved by any other method than music theory.

If OP wants to use other methods to answer her question, unfortunately, after 50 years, when her hair turns white, will come back here and ask her current question again in a different way.

 

It's as you haven't read anything I wrote or as you cherry picked what's convenient to your point and discarded the rest. Can't expect anything different from a troll. I just hope you're not wasting too much of your life doing whatever you do online.

 

Critical listening without understanding the logic of music has no value. Everything happens after understanding music theory.

 

When someone tries 50-60 bass synth presets to write a track, but eventually finds one they like using the same midi data; the problem is not the notes. It's the mix. Or none of them would work.

The simplest answer to this mental obstacle to creating a bassline, is to write the bass line first; instead of forcing into an already populated track. If you mess up the bassline, your track is often screwed already. The bass is also a big enough portion of your track, that the rest of your channels will need to be re-balanced; because you added the bass so late into your production. Music theory is not going to help you setup your eq, sidechained compressor, enveloper, and any other tools you want to use.

The "OP" is probably just another pathetic trolling alias.

 

I wonder why the moderators insist to allow this type of bullshit here. I guess it's entertaining.

 

You can review bass parts of thousands musics in Guitar Pro.

 

It's definitely a good idea to have all the elements of a musical composition be "in key" to achieve harmony and coherence. However, it's not always necessary for every element to be in the exact same key.
In your example, if the vocals are in the key of F#, it doesn't mean that every other element must also be in F#. What's important is that they complement each other musically. Often, different elements of a track can be in related keys or use notes from the same scale to create a harmonious sound.
For instance, if the leads are in F#, the other elements could be in keys like F# minor, A major (the relative major of F# minor), or D# minor (the parallel minor of F# major), among others. They could also use notes from the F# major scale or its modes.
Experimenting with different keys and scales can lead to interesting musical combinations, but the key is to ensure that everything sounds cohesive and enhances the overall feel of the song.

 

Music theory never talks about experimentations. Music theory always deals with absolutes. Experimentalism without absolutism results in confusion.

 

Music theory is about music. If it sounds interesting = interesting, if it sounds boring = boring, etc. And this criteria is subjective, always will be. That's why there are genres, and personal preferences.

Music theory offers tools and concepts to help musicians understand how music works, but it doesn't dictate rigid rules that must be followed at all times.

Experimentation allows musicians to push the boundaries of traditional theory, explore new sounds, and innovate within their craft. It's through experimentation that new genres, styles, and techniques often emerge. So while music theory provides a valuable foundation, it's the combination of theory and experimentation that allows music to evolve and thrive.

 

Last edited: Apr 13, 2024

It is interesting how you read something only as a platform for what you wish to say without absorbing anything from people who actually attempt to assist you, that in some cases might actually know something you do not. Then you wonder why you got banned so often for trolling.
You completely missed the absorption factor and the fact that musicians who are blind have their ears only to rely upon.
The facepalm is here. You know nothing John Snow.

 

to build a house you must understand, your tools and your materials.
to build a song you must understand your tools and your materials.

suggest you begin with an understanding of the instruments your samples are based on and
how they are used to create music.

How to Play Bass with a Drummer (Foolproof Beginner Blueprint)

 

All humans have ears, but why can't their ears help them to solve their problems? The ear is a weak tool in solving musical problems. Usually, the ear is effective when all the work is done and it comes like the head of a company who just signs the papers.
Great musicians rely much less on the ear because the ear alone does not have the ability to understand the complexities of music. The most important tool in music production is thought, and if its capabilities are not used well, the final result produced will not be very pleasant.

 

It is blatantly obvious you have never worked with great musicians. In a recording studio in a paid session job even with a chart, a producer can sing a line that is not on the chart. If they had poor ears they would be fired. They may be asked to write in the line they heard or the producer will simply say change it. Ear training is part of theory training. A crucial part of it. Solfege requires the ears to know and hear the notes on the page. It is also called sight-singing. This is one of many important functions of the ears in music. The ears work with the eyes in this case. A great solfege singer hears the notes on the page. You need to stop on something you know absolutely nothing about FOSTER. You will be telling everyone you know more about music than Stevie Wonder next and all the musicians who are great that learned by ear. You are looking like a fool FOSTER.

 

Last edited by a moderator: Apr 14, 2024

hope the "Pending Deletion" works this time, lol.

 

Jesus Christ. Can you BE more pretentious?

 

my favorite song, "pending deletion" by the central scrutinizer