Music theory question.. need someone with a good ear

Discussion in 'Education' started by FrankWhite23, Jun 30, 2020.

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  1. Smoove Grooves

    Smoove Grooves Audiosexual

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    Oh. So now it doesn't start with A#/Bb? lol And you've now added the C to the first 4 chords.
    So my F chord. What's the relative minor Nought? That's right! Dm: your choice.
    EbM7? Great, you're on the same page now!
    F as 3rd chord? Well done!
    Cmaj. Well, there is a d in that chord if you can hear it. A C7 would work there too.
    And then all the same for bar 3 and 4, except finishing on the Gm.

    edit: oops! Sorry @Ayc
    Somehow read you as Nought!
     
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  2. TaxiDriver

    TaxiDriver Platinum Record

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    As I see it, it starts on 2nd degree of a Lydian on Eb, which is ofc F Major, so Smoove Grooves is right, imo:
    I'd say after the first 4 chords, I hear a Bb (+maj7 or smth), Eb, F and C (which for me is also logical, as Eb Lydian is 4th deg of Bb "Ionian", Bb being also the dominant..)

    The progression closes with Eb, F, C chords, which would be considered "wrong" back in the days, as it results in a so called false relation - a dissonance between consecutive voices. But this "mistake" (in music, there are none..;) became very popular and has this interesting particular sound. On second cycle the progression ends on G minor (again, as Smoove Grooves already pointed). So, if I quickly play the building blocks (Lydian scale, 2nd degree, progression, bass and the chords I mentioned), it's something like this:



    The chords may vary as far as add7, add9 or inversions go.. (I only listened quickly), but I think it's close.
     
  3. The Freq

    The Freq Member

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    The thing about music is that it sounds good or it does not.
    There are two ways to approach it which is for the sake of the art and pleasing yourself or to please others.
    The only reason to please others is if you are getting paid for it or will make money from it. The latter part is almost non-existent since streaming unless you are famous.

    I like the tunes and you speak of minor scales but I do not hear any melodic minor or harmonic minor scales other than in implication or resolution as part of the tune. Drake for example, from the Dm to C to Bbmaj7 to A7 is almost that as the A7 (with a #5) will naturally want to resolve back to Dm - I suggest looking up all of the scales available including Hindi, Arbabic and Hebrew so on and so forth if the goal is something new? Google them - I think you are referring to your writing leaning towards using the minor chord tones and sounds. There are many majors in there too. Over-analysis is not always a good thing.

    As I said, I like what you are doing so don't beat yourself up about what I believe is a phase in your own creative processes. Every writer at some point looks for new things because they believe their music sounds the same - to them. Additionally, if you base a tune completely on scales, most of the time it will sound like that. Keep writing from what you hear - most of the best music in the world is written that way and study whatever else you wish to absorb on the side.
     
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