I'm so sorry.

 

Last edited by a moderator: Mar 30, 2017

I think you have a bigger one: it looks like you may be slightly tone-deaf.

 

may i ask what's the point of this

 

Cool. I like your enthusiasm. Also, did you mean key of Bb? There are only "sharp" keys of F# and C#. After that, you get into theoretical keys with double-sharps involved, on paper only - like a theoretical test question in a classroom setting.

 

What's the problem? Don't you think this thread is so much better than this?

There are lots of benefits. One of them would be looking at the track from the chords' view (like the one that big composers did). This perspective is so powerful. By structuring in this method, other future selections such as sounds and putting melody over them would be so easier. There would be other views too but for this thread please let the track's frame being seen from the chords' approach.

Thanks so much! Yes, the key of Bb. Only the third progression is in Bb Harmonic minor scale. If people are not comfortable with that one, OK let's throw that away.

 

Last edited by a moderator: Mar 18, 2017

Not really my my cup of tea @foster911. I voted "No" because I'm a percussionist. Yes. One of those annoying creatures within the whole community who just hits stuff with sticks and, sometimes, manages to stay in time.

 

@foster911
If by big composers you mean the known classical composers, they did not write songs. At least not in the way a typical song is perceived now. Symphonies, Operas, Minuets, Oratorios etc etc. Even if you can classify some of them as songs (operas in particular could fit), nobody is known for their chord progressions anyway but for their melodies. Not even among jazz pieces which may have even further than classical, complex harmonies.
The easier way to start any kind of song is to have a starting melody. A typical monophonic melody can be arranged into hundreds of different various chord progressions, whereas a given chord progression indicates much less and specific melodies.
So, if all of us were aspiring young composers/musicians etc, this whole thing may had some gravity as a practice lesson. But the community is not just young peeps as you might have noticed. My humble suggestion is learn what makes a melody strong. A good melody can be turned to any style and arrangement. So to sum it, chords and styles/genres are more or less irrelevant as they can be anything behind a melody and structure is also secondary. Melody and groove are most important if i may say so. Remixers have made long careers for well over 40 years now doing the exact same thing i describe, most of the times just based on a given melody. I cannot point to someone else 's work to showcase an example of a how a strong melody+groove can be completely re-arranged. So i will point you to one of my own which also showcases how to turn a 6/8 song's vocal to 4/4:

Ps: If you wonder why there is nothing else in my soundcoud is because i just made an account lol. I can be really old school sometimes

 

Last time I did this there was a prize involved. Over $1000 worth of studio gear.

 

oh sweet irony... with those progressions, with that sound, in that thempo, with those rests between them... you actually created song (or piece, or composition)!
Abstract as it is with no sense, but nevertheless, you created something... and that is the thing with music... it is not what you are creating, as long as you are doing it...
...so there is no point of creating something from it, when all is done.

 

If I turn it into an EDM masterpiece with inversions, key changes and counter melodies, but most importantly groove. It will suck (to him) just because its EDM

 

Last edited: Mar 18, 2017

Yes, when Im working with just an acapella or lead I always change the keys of my remixes doing this. Hook writing 101, give em something familiar and something new. But most importantly, the whistler, that simple repetitive melody that sticks with you. Like that song you cant get out of your head. Much better to build the song and chord progressions around that part of the track whether it be a vocal or lead.

 

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Its when i did it too. Sort of missed the 2nd prize to a similar track with a simpler progression and much worse vocal sync but more pop house sounding (no gtr solos hehe). I could see on Fb the judges were "spinning it" but to no prize hehe...np, it was fun to work on the Alicia vocals on my spare time. I was later informed they were considering it but hey, no worries

 

Last edited: Mar 18, 2017

Another thing to note is you dont have to create all the complexity of your progressions with only the chords. You can always just use triads (or even less) and add the different tonalities with the supporting sounds.... like how an orchestra works

 

Bizarre thread.

 

To make it worse,

I'm in

 

Yep, totally agreed. If i could add, it's what reggae (roots) bands do all the time. Every single instrument is simple melody and groove but altogether they create a complex groove and harmony, with lots of Q & A between the instruments and lead melody.

 

Last edited: Mar 18, 2017

&

Actually he pretty much dislikes anything with rhythm & groove - be it jazz, classical or edm. He seem to like anything which is a big and messy conglomerate of sounds with a tiny touch of melody (as dissonant as possible). Listen the given chords: some used and abused, many of them pissed, not a single uplifting one. Even the staccato ones are depressing. Funny thing is while attempting to break all the rules and create "something not minimalistic" he's creating his own set of rules to which he blindly obeys.

 

As usual, make fun of me.

 

You bring it on yourself. You have been here 2 years and all you do is post little piles of dog poop. If you are serious about music then for heavens sake sit down and finish a complete track. If you really don't know how there are a ton of tutorial videos to teach you. If they don't help you then maybe it's time to take up another hobby.

 

I do not think i made fun of you. I answered in a serious manner alright, yet i received no comment from you. I made a Soundcloud account just to show you my example, as, out of respect, i thought of it unethical to speak about melodies and arrangements with someone else 's example, something i could have done easily. User peter A is right when he said "You bring it on yourself". Because in this case, your post would be ok if you didn't title it as epic as you did for all to read. And to spill the beans, this is from the Cambridge dictionary :
"Challenge" ( Dificult job) : (the situation of being faced with) something that needs great mental or physical effort in order to be done successfully and therefore tests a person's ability
There is no challenge in what you posted. Unless you think all of the peeps here are just starting out which is far from the truth.
By all means i am not trying to make you feel guilty or uncomfortable. But i am trying to put some sense into you, with all the respect. My suggestion? Next time you have such an idea, keep your title modest mate and if you do not understand modesty, keep it on a lesser than grandiose scale. And be kind enough to take the time and respond to those who respond to you please.
Cheers

 

Last edited: Mar 19, 2017