i am, but they r dispensing so many wrong and confused information that i don t even know where to start to correct them.If they don t even know the definition of triad, the difference between triads and inversion and omit diminished and augmented triads,and ( cherry on the cake) come out saying there are 12 major tirads and 12 minor triads,i refuse to waste my time.U know my opinion about them: one spends his dy building up wrong and pointless tabs rather than studying and also has the insolence to get in the chair to lecture us when he s the one who needs to be lectured; the other...well u know..i don t wanna write another 24 pages discussion

 

Last edited: Nov 13, 2015

I am so happy you're back. I was waiting for you. I really beg you please don't flare up. OK we are wrong, please show us the right way but with compassion. This always makes you a bigger person.

 

i have to admit that there s a thing that i appreciate about u and that s your will to improve,hat off for that.
Unfortunately it seems to me that u try to overdo and skip too many things.
In italy we say " learn the art and put it apart",it means that once u have learned everything u need to know,u can eventually decide what to use and what not, because u r actually free to apply the rules, to break them , to ignore them.
But u have to learn first, and it s a thing that u don t, because u spend so much time and energies trying to find shortcuts to learn things rather than invest your time in studying from authoritative saurces, books, tutorials online, real teachers.
So find a harmony book,o r download it, if u think it s too difficult to study it on yopur own, find a good teacher, and when i say good i mean someone who really knows harmony , not some saucy frog who thinks to be the new rimsky korsakov,and start from scratch.
Now, i can t spend hours explaining u harmony, but i invite u to reconsider your first post,because u started from a wrong interpretation of triads
There are not 12 major and 12 minor triads: if u remain stuck to a more traditional concept of harmony there are 4 triads,because triads are tro groups of thirds linked together:
major triad = major third + minor third
minor triad = minor third + major third
diminished triad = minor third + minor third
augmented triad = major third + major third
then u can transpose them starting from every root,but they reamin 4 kind of triads,not 48,and it doesnt make much sense learning by heart all the notes that build a triad from any given root, your goal has to be to ne able to figure out on the fly how to build them (again the modern green mozart won t agree and will state that u don t need to know the names,dont listen to him).
And even when u will apply invertions,and the order of the notes in a chord will change, they will remain triads.
For example if in a major triad instead of starting from the root u decide to start with a third,u ll have to interpret as two set of thirds ,even if the interval between the first and the second note is a minor third and the interval between the second and the third note is a perfect fourth.It doesn t matter, u have to search for the thirds first,so u can spot the root of the chord.
Obviously there is a sonic difference,as a matter of fact in traditional harmony, the second inversion,that is the one starting from the fith of the chord is considered very unstable and dissonant.
Another thing u have to remember is that in traditional harmony inversions were indicated by a number,or a fraction
the first inversion was indicated with 6/3 , the second inversion with 6/4 , and even in this case it doesn t indicate the execution of the triad,but only the root, independenlty of the order of the other notes in the chord.
Do u want to know the purpose of inversions in music and some examples?
listen to J.S. Bach ,and remember that 80% of his workes are based on primary chords that evolve relying on inversions

 

I've been saying this since the beginning. In fact, that's what stuff like "R - b3 - 5" means anyway, but right after that you write...

Well, I don't know if you have a huge lack of comprehension. You basically stated something I've been saying all along and then said that I wouldn't agree with it. Fantastic.

Edited by Olymoon : Use of inappropriate language.

 

Last edited by a moderator: Nov 15, 2015

actually i ignore everything u write after the bullshit u wrote in the other thread, so it s possible that u say something that makes sense sometimes ,i don t know.
But the funny thing is that u were so busy showing off that u missed the only thing u had to tell him, ,that there are two other kinds of triads

 

Last edited: Nov 13, 2015

Yeah right, take your condescending lies someplace else. One doesn't even need to go look in the other threads because, like I posted above, you just contradicted yourself in the same sentence. What I said earlier (bullshit as you say) is now your opinion... fine, but make everyone a favor and don't lie about it.

 

what contradiction?i ve always said i think u r stupid and u don t know a fuck of harmony

 

My bad, in fact you've been very congruent with your close mindedness and overall stupidity.

Kids..

 

I love both of you, Please please end it.
َAll members are watching you. Education section has been like a ghost house. No one dare to come closer.

 

Last edited by a moderator: Nov 13, 2015

I'm always baffled by music theory, it's like a foreign language to me, I do wish sometimes I would have tried to learn it though when it comes to arranging

 

then learn rather than wasting time with tabs and grids and wrong things.U have the internet, dowanload a harmony method

 

Last edited: Nov 13, 2015

A Beginner's Guide to Music Theory from sonic academy

EDM related, nice beginner course

 

Arranging is more about awareness of the musical elements than notes, chords and ear/aural skills.

Knowing more about theory would help you with reharmonization, melodic devlopment and stuff like that but the big picture on arranging isn't that, specially in contemporary genres.

You can read about that stuff and it doesn't involve much (if any) "cryptic" music theory of the kind you wouldn't understand. Don't be discouraged, just find the right material and learn from it, your awareness of the material you're working on will expand into new possibilities of what to do with it and where to take it. You don't need to follow any recipes on that, awareness is the endgoal.

 

After all, what about this?
you're so appreciated.

 

In most tutorials I have seen sentences like this a lot but never ever explain why:
"They are rarely used or not used."

For example a chord like: "m11b5" = "1 b3 b5 b7 9 11" -------> b5 degree should not be used here. I mean we do not have m11b5 chord. why?

Does that mean they are dissonant and unpleasant or they're sounding like other chords regarding the required degrees?


Each tutorial has a context. Failing to understand that will lead to questions like this one.

If you need a book to tell you what sounds unpleasant, you might want to rethink a bit what your goals are.

 

Sorry kouros but I really need to know!

Edit:(
For example suppose a degree sequence like this:
R, 3#=4, 5#=b6, b7 (Degrees borrowed from the minor scale)

1- We don't have any 4 notes chord like that in any scale but they are parts of 6add9, 9, m9, 11, m11, 13 and some other chords in some scales. What does that mean?

2- Does that mean it is dissonant by itself but harmonious (color tones or required ones) in some 5 or 6 notes chords?)

 

Last edited by a moderator: Nov 14, 2015

I gave you a really good answer, you're just not putting the effort to understand it.

I don't know what that's supposed to represent, it makes no sense and it isn't a major pentatonic scale.

Scales and chords are the same thing, notes. You don't understand because you're forgeting about context.

Are you even listening to any of the chords and scales that you're studying?

 

My previous post was edited.
Yes of course I listen to them. But in some situations I really need to know the relations because it completes my understanding.
Ears+Eyes+Thinking+Practicing = Understanding.

 

I still don't understand what you mean with this shit lol

Your two questions make no sense and I am trying to explain you why but you're too stuck to find that answer that doesn't exist.

Scales and chords are just ways of referring quickly to groups of notes. Read that a thousand times then come back to your questions.

LOTS of chords share notes from each other, the way you name them is a matter of context.

Do yourself a favor and stick with 3 or 4 note chords for a few months.

edit:

It's not by intelectualizing all this that you'll make it work. Anyone can understand it, it's logical.

No matter what you read, only time and focused practice will make you evolve.. it's called experience. Theory isn't experience, it's merely a roadmap.

Your question don't make sense musically, you're looking for the right answers to the wrong questions.

You have to develop your ear and sense of harmonic movement or else you'll drown in meaningless theory and making absurd questions.

Until your hear can sense harmonic movement (basic 1-3-5 chords) with different octaves mixed in, your better off leaving all that crap alone and focusing on the basics.

 

Last edited: Nov 14, 2015

I can relate to this, my brain works in a similar way. I like to understand the topic comprehensively early on.
I find this helps me to advance quicker. But I, like Kouros don't really know what you mean by R, 3#=4, 5#=b6, b7
Are you saying that a sharp 3rd is the same as the 4th and sharp 5th is the same as flat 6th?
Because yeah you're right but where did you see R, 3#, 5#, 7b? It's really odd. Chords are usually expressed in using major, minor, diminished, augmented as duskwings said. So given you said you based you thing on the minor scale or more precisely Aeolian or 6th mode, your 3# is actually a major 3rd from the root (up 4 semitones) and your 5# is another major 3rd up from that and your 7b up only 2 semitones which I think is expressed as a major 2nd but i'm not sure this even exists in traditional theory. Help me out on this one @duskwings. I think this chord woud be for example C aug7 or iii aug7 in A minor or A Aeolian mode.

If you can forget the words minor and major when talking scales it'll help a lot. Look into musical modes. Hopefully you'll see that sharps and flats are used to describe intervals that make up a chord. And major and minor should be reserved for talking about intervals not scales. I think you're interchanging terms used for Key, scale, chord and intervals which is easy to do.

Major / Minor ---- Intervals
i, iii, v ----- chords
Mixylodian, Aeolian, etc ---- Scales
A, C, E, etc ----- Key

So I would say "I composed a song the key of C with a i, v, vi, iv chord progression and using Ionian mode / major scale"
Rather than "I wrote a track in C major with a 1, 5, 6, 4 progression"
Yeah both are able to understood but the second way can be confusing when you're learning

If you are like me and you need to undesrtand things wholistically to unlock your creativity with in it, then follow @duskwings advice and put in the time to study it and learn how to do it correctly, then you can fuck it up artistically as much as you want

If however you're more interested in popular dance music and porducing better songs quickly, then follow @kouros advice, research the Nashville numbering system and K.I.S.S. And trust your ears when you experiment.

I hope this helps and that it is correct info (please set me straight, anyone)


p.s. I learnt all I know from youtube, Audiosex and a few other websites.