The really cool thing is that now we have seen the C Maj. ( C maj6 CEGA)

We can slightly alter this to
Use for a different type of chord the Amin

Amin6 ACEF#

Now what's nice is we can slide the Previous G note down to F# and now this new structure works for instances where you wanna play over a minor chord .

Let's look closer.

Say you have a part that's Amin for 8 bars.

First we make it A min6th
Amin6 ACEF#

Second we do 4 inversions

ACEF#
CEF#A
EF#AC
F#ACE

Third we grab the dominant chord V that belongs to A min

E7. EG#BD
But we sharpen the root
FG#BD

Fourth , do 4 inversions

FG#BD
G#BDF
BDFG#
DFG#B

Lastly, we put both together in scale order

ACEF#
BDFG#
CEF#A
DFG#B
EF#AC
FG#BD
F#ACE
G#BDF
ACEF#

Now we can do all the same things as before with the major type, except with minor types.

 

We seen Maj and min chords.
But the last one min6 is an inversion of a half diminished or min7b5
For example
Amin6 ACEF# = F#ACE F# half diminished( min7b5)
This is amazing .

So if we have a F#min7b5 chord for 8 bars we can do this.

F#ACE
G#BDF
ACEF#
BDFG#
CEF#A
DFG#B
EF#AC
FG#BD
F#ACE

 

We seen what to do for Maj types min types and half diminished types.
What About dominant types?

Well, let's go all the way back to our C maj6 chord
C6 ( CEGA)
If we sharpen our A to become A#
We get
C7 ( CEGA#)

CEGA#
DFG#B
EGA#C
FG#BD
GA#EC
G#BDF
A#CEG
BDFG#
CEGA#

Now we have seen all types of chord functions
How we can expand them.

 

So what kind of things can you really do with this?

Let's go back to our major chord type C Maj for simplicity .
CEGA
DFG#B
EGAC
FG#BD
G#BDF
ACEG
BDFG#

So picturing the above structure in your head ,say we have a c major chord for 8 bars ( or a good length of time) and we wanna know what we can play there.

Now I will show you some patterns to begin with .

We can go up one chord down the other like we seen originally in first comment box above.

But try this one out to see the real three-dimensionality at our disposal here.

We are going to play the low note then the high note then slide up to the high note of next chord ,then play it's low note, then slide up to the low note of next chord play it's high note then slide up yo the high note of the next chord then play it's low note etc. I'll show you.
..............
CEGA
........

So play C then up A
.............
DFG#B
............
Slide up from that A to B
Then go low from That B to D
...............
EGAC
...........
We slide from D to E then go up play C
..........
FG#BD
.........
Slide from C to D, go low play F
.............
GACE
............
Slide from F to G go up play E
..........
G#BDF
.............
Slide from E to F, then go down play G#
............
ACEG
..........
Slide from G# up to A, go up play G
...........
BDFG#
.........
Slide from G up to G# ,go down play B
........
CEGA
.....
Go from B slide up to our ending note C!

This one example apply to all four chord types, when you comfortable reverse the direction.

 

i will offer a limited apology here, as a supplement to my other apologies, to the 'everyone' who is of this opinion. i agree tacitly with the spirit of your premise here, and yes i can be an asshole. yes, the tread has moved beyond the initial charge of the 'getting down' of ideas to a focus on the 'ideas'. it maybe reflects a lack of space to focus, in this and other audio forums, on the meta-properties of this thing 'we' choose to call music -- the why and not the how of music. discussion so often defaults to the more material and technical aspects of music and audio, or topics only tangentially/superficially related. members who are fairly well afforded in the said aspects of music may at times over-enthusiatically jump at the chance to discuss the other aspects wherever they may arise. it is far better to address these things as they arise spontaneously rather than manufacture a situation which usually fails.

music like the world it sometimes seeks to interpret and reflect, is not always about 'good' and can be filled with self-reflective: doubt, division, confusion, etc. (there is a wealth of musical evidence to back this claim). any discussion of such maybe should reflect that too.

i do try to keep in mind such concerns when posting in these threads but i am impetuous and an immensely flawed individual. i will just have to humbly ask for forgiveness and indulgence of my folly. hopefully some interested parties will find my contribution to tread informative and useful be they correct or incorrect.

discussion is usually a positive and a force for good.

 

1. The cultural products of the pseudo-modern era are exceptionally banal, vacuous and ephemeral on the level of signification, in stark contrast to the sophistication of the past (golden ages of intelligence, creativity, rebellion and authenticity).
2. A triteness, a shallowness dominates all.
3. The pseudo-modern era is a cultural desert. Vapid, conformist, consumerist, meaningless and brainless.
4. In the pseudo-modern era we are confronted by a storm of human activity producing almost nothing of any lasting or even reproducible cultural value - anything which human beings might look at again and appreciate in fifty or two hundred years time.
5. In the pseudo-modern era, the only tension is between the sophistication of the technological means and the vapidity or ignorance of the content conveyed by it.
6. Whereas the past called 'reality' into question, pseudo-modernism defines the real implicitly as myself.
7. Pseudo-modernism suggests that whatever it does or makes is what is reality, and flourishes the apparently real in an uncomplicated form. Along with this new view of reality, it is clear that the dominant intellectual framework has changed.
8. Pseudo-modernism's typical intellectual states are ignorance and fanaticism.

 

 

Last edited: May 3, 2019

why tag me? just post. i am not the even really a fan of contemporary 'pop' culture, art, music, or particularly postmodernism for that matter (i realize the futility of even trying characterize the such a broad, ever evolving milieu), i merely acknowledge it and its progenitors right to exist and attempt to justify itself and make itself relevant. even so i still think it is relevant on some level as it is concrete, objectively does exist and has a well documented, traceable timeline. to simply dismiss and ignore this is denying this particular aspect of reality. if someone going to put themselves forward as a substantial arbiter of music, culture, etc. i at least expect some pretty compelling arguments. i would more likely agree than not.

even though i am by necessity, technically very literate, i would probably advocate being a luddite if it was at all practical.

just reading this post. it has to be trolling, but just quickly on the vague possibility that the person behind this is actually misguided enough to be seriously posting this.

i think this stuff was proposed in a paper or something, sometime. it is extremely myopic. i do not know how much is just directly copied or what is going on. it was a useful foil to bounce ideas off by this is devolving into useless tripe.

it is strange how these generic accounts just pop up and spam rubbish and exchange likes and what not, in the dumb little audiosex cliques particularly when MMJ2017 is involved, i don't mess with that kind of stuff but i have recognized patterns over time, it is pretty good for the most part. it would be so much fun if MMJ2017 is connected to this, but only it is meant to be serious. if it is just trolling it is pretty meh. [if anyone has experienced or observed any similar behavior please post]

to whom ever this is, this ones for you baby.

i don't know why you would keep posting these entirely subjective vague, false dichotomies based on arbitrary value judgements that you have most likely just appropriated from other sources. are you expecting a response from anyone? are we the 'defenders of the shallow'? i think most people would be wary of responding in any meaningful way.

"golden ages of intelligence, creativity, rebellion and authenticity", when? now, is probably as good an age as any. phrases such as this are just fanciful, trite, overly-nostalgic rhetoric. read some select history from these 'golden ages', and you will most likely debunk this for yourself. maybe you can just imagine yourself strolling the hallowed halls of the lyceum or something.

"Pseudo-modernism suggests that whatever it does or makes is what is reality, and flourishes the apparently real in an uncomplicated form", is pseudo-modernism now a physical, conscious actor? if so, how can i contact it to ask it what is apparently real? eye confuse.

"Whereas the past called 'reality' into question, pseudo-modernism defines the real implicitly as myself". who? who has measured the last statement against 'reality'? who are the supreme arbiters of this 'truth'? have you got their e-mail?

"it is clear that the dominant intellectual framework has changed", how so? to whom? have you got any independent studies? any sort of objective evidence or even a measure of such phenomenon?

"Pseudo-modernism's typical intellectual states are ignorance and fanaticism", you have demonstrated both of these traits in this very thread, so maybe there is something to this but i suggest you clean up you act in order to remain consistent and even have the vaguest possibility of presenting yourself as a valid source.

yeah yeah i get it meh thats what you get for trying to be civil lol... i am up for any knock down drag out fights if you are interested bring all your dumb friends if you need to just make your topic and i will see if i can come up with something

ironically i am not entirely city folk unfortunately a necessity to improve ones intellectual and working capital human capital not so much

 

Okay seriously why hasn't this thread been locked yet? @Olymoon @Andrew

No one wants to read these essays!!!! This thread is literally only a few people arguing nothing good is being contributed here...

@MMJ2017 Stop posting back to back!!!! No wonder you have over 2000 posts despite joining in 2017. Man you talk waaaay too much! Your philosophies are over the top and no one can properly understand what the hell you're on about. And you write all these essays that no sane person has the time to read.

All you new members need to learn how to properly post or gtfo. Stop arguing this bullshit. Stop posting back to back. You have completely ruined a fairly decent topic.

 

I got sure that you are another post-modernist or pseudo-modernist. Good luck with it. I'm done.

 

Haha, discussion still going strong! I need time to read back from where i left off I hope amongst it all we are still getting down ideas and making music Ive been working on a few decent tunes, and have thought back to some of the comments on this thread as i have been going.

Id still describe my work as meditation, not a lot of thought in terms of where im going, just playing nd letting it flow out of me. Once i now a plug in inside out its all second nature. Been enjoying designing kicks with Kick2 lately, and loading old analogue synth samples into TAL sampler. Kinda techno-ish vibes. Nice melodies though (even though i cant name the notes and chords... :P :P) Peace

 

unless it's an online discussion where after about 2 pages (if that) it usually deteriorates into chaos . . . ..

 

Sounds like a familiar process to me...production as meditation, contemplation and openness....I love making kicks with pitched sine waves in vember audio surge [possibly the best free synth, used to be payware] and sylenth...you can add a huge tail of bass with this technique using amp envelope release..... I mentioned this and added a sylenth preset to the kick processing thread awhile ago. Sorry if I went OT at all but this was a great thread, would be nice if it could go back on topic and we could share some practical and or enjoyable ideas for....getting down ideas. I don't want to insult other members, but ffs, heard it all before...start another thread for bullshit wars, i'm actually interested in other peoples ideas and techniques...........

 

Music is just organized chaos that hopefully tickles our ears, wiggles our booties and causes full body orgasms.

 

Ok, so why are you even participating?
Simply ignore the content you are not interested in.
Audiosex is huge place, so nothing is imposed to you.

 

Read your own signature.
( Except , take the "s" off the end of) course
My comments are a describing a particular way to get down ideas.( Read the thread title,now how are your comments relevant ?)
I presented the information in a clear consice way where any situation that any type of chord occurs
You have a new holographic 3d method can be used.
( What have you accomplished " old" user?)
I'm terribly sorry that this process is hard for you to read 3 short comments to change your musical life you have it so hard right?
A " oldie" user , who's signature is literally
" Suck my dick motherfuckers"
Is critizing me about thread etiquette?....

 

Last edited: May 3, 2019

Tell us about your beauty there!

 

The best way to compose, and create, and "get ideas" is not to "Look" for ideas. Hmmm... Kinda reminds me of a Buddhist mentality. But literally true in my experience. I mean, I know that some are given goals to accomplish, like "Hey were doing this movie and we need this kind of sound for this particular scene". I get that. But I'm talking about tapping a source that flows naturally without thought. Yoda says: "Do, and you will have done". I dunno if I'm making sense here. But it makes sense to me. Kind of like a Heartbeat, you don't have to think about it to make it beat, it just happens, and gives you life enough to even contemplate the initial subject matter: "The idea of getting down ideas?"