Duskwings and Kouros you both should stay strictly into the musical part of your conversation and behave with respect for each other.

 

I love their beautiful minds!
Behavior is not very important because it's more being affected from the feelings and mood (not internally more controllable) that is successively varying in the 24 hours of the day.

In the worst situations, the mind does not change much but mine has changed much, more because of them!

 

Last edited by a moderator: Nov 24, 2015

Hi guys!
I have a question about inversions and voicings.

For me the inversion is the intricate part of learning harmony. Yes we have had very useful conversations about it here. But the only thing that is still strange for me is their quality and soundings. Suppose we have a progression of "maj, sus2, sus4, maj". If we apply it to all of the keys with different inversions, you'll have different feelings. I mean I can not interpret the role of the octaves in selecting the note of the chords.

For example let's talk about Cmaj chord. (Cmaj = "C E G" = "E C G"= "G C E"). We can select notes from any octave with any interval like "C4 E4 G6 C7 E7" or others. Yes it's called open voicing. But for the mentioned progression, in every selection of the notes from any octave different sounds are coming out that is perplexing to me.

How to deal with inversions and voicings?
Thanks so much!

 

how long r u going to wait to buy a harrmony book that answer all these question in the first 30 pages?

 

Foster911 That's why music is an Art, there is no specific way to deal with this, specially inversions, it's all about what do you want to transmit and how do you feel it. Use your ears and decide subjectively.

duskwings The guy have the right to ask. This here is a music forum, so he may want to receive several answers, even if he have the book already. What we can answer here would certainly complement what can be learned with a book.

 

Last edited: Feb 24, 2016

thanks very much!!! ... i start practicing ,it is very useful to know about these tipsssss, actually i don't know much .... especially the
roll equivalence its sooooo nice !

 

Thanks for your take on diatonic theory. Those that already know this stuff, step off, go do something else, whatever.

 

and i got the right to tell him to buy a ahrmony book since it s a subject that can t be discussed throrughly in the space of an anscwer in a forum,expecially considering that if u read all his previous posts he s overwhelmed by the most total confusion and lack of knowledge of harmony,so he needs a harmony book,and maybe a teacher,not random four lines answers.

 

Maybe useful:
http://davesmey.com/theory/index.php
I personally think the most charming aspect of harmony is hidden in open voicing and doubling.
If you know some related materials about voicing, I am so eager to know.
Thanks so much!

 

Last edited by a moderator: Feb 25, 2016

The attachment is a simple triad chord progression:
Fmaj Fsus2 Gm Dm Dm Fmaj Cmaj

Who with the traind ears could guess the exact pitches of the below progression? Let me know!

Without good spacing of the notes, you'll not have your intended sound. I was not taking serious the triads before because of their simple structure but after considering spacing, inversion and also doubling their notes, I totally changed my mind about them. I'm now able to created any mood by just using 3 mentioned techniques.

 

Last edited by a moderator: Feb 26, 2016

That is just a I V ii vi progression, the Fsus2 isn't really acting as a suspension, it's more like a C chord with an F on the bass. It's more practical and useful if you try to name things by the way they sound in context than as if they were static fragments lost in time. In the end, what matters the most is that you use an analysis that's useful for you but still correct for everyone else to follow if needed.

You could move around the notes in the melody line (A - G - Bb - F) while keeping intact the harmonic structure below it. That's a good exercise. Also try using more than one melody note per chord (different rhythms too) and you'll start to get the hang of things.

 

Nice chords. I've got a verse melody already, now thinking about the chorus idea.

 

Last edited: Feb 27, 2016

Just practicing on the key of Eb (D#). Hope you'd like it:
http://www.mediafire.com/download/aub9wu711ec78q6/Chordy+Arp_3.mp3

 

Last edited by a moderator: Feb 28, 2016

Good stuff here: http://www.chord-progressions.net

 

Chord progressions are excellent commodities but without good playing around with them, they would seem a hill of beans. No one would apperceive their importance by just following repetitive and rigid forms.

I think one of the main reasons for some people seeking refuge in the industrial like musics and deprecating other kinds is their absolute ignorance of the chords power.

 

Last edited by a moderator: Feb 28, 2016

What came first the chicken or the egg

 

Neither the chicken or the egg came first, the goat did, but the chicken left first as it had a gig at another farm.

 

...and here we go again with affirmations coming right out from his butt.

You're the one thinking of them as blocks or something, don't assume that everyone has that narrow knowledge and purpose for them.

First you should learn what chords really are and how they can function. You'll find out about implied harmony.

 

Thanks kouros for your attention but please listen to below sound (Key of G):
http://www.mediafire.com/download/e36xj63yz8w6iah/Chordy+Arp_4.mp3

For me by swotting up on harmony, nothing happens. The real magic occurs when I am playing and leaping around on the keyboard's notes as you've suggested me a lot. Of course basic theories are needed.

 

First, the key signature might be G but that's not in G, it's in D (as a mode, it's mixolydian).

Theory is information. Information isn't knowledge. Badly understood concepts (information) leads to confusion.

Humble yourself up, keep playing around with that stuff and AVOID making statements about stuff you just started messing with. Not only you are wrong in 99% of your affirmations but also you might lead others into unecessary confusion.