I do not agree with what you say. With none of what you said in this Thread. Indeed your words really made me sick and bad, to be honest. You seem envious, you talk like an envious person, looking for motivation to justify your envy to yourself.
Then I suggest you to speak only and always for yourself and not in the name of us other users of AS. Don't be a spokesperson for the other regular posters, please. You should be aware that not everyone can feel represented by your words, so please speak only for yourself.

 

You see, I can demonstrate the validity of the knowledge of music giving ability to do what the musically ignorant ( without knowledge) can never accidentally do
( How long would it takes for monkeys with a typewriter to type Shakespeare? Or Einstein's theory of special relatively?)
How many guesses would it take for a musically illiterate person to accidentally play or write triad pairs .
Isn't it funny how the triad pairs video ( it's just an exersise not even a song yet)
Already sounds better than any top 40 billboard charts song?

"+57:ggjgg yhgh. Ugghj hjhh "

It's because the two above sentences are vastly different in the level of detail which really matters
Depth and meaning.

 

Paul Pi,
I am wondering your take on whether my last few comment boxes regarding the music language technique called " triad pairs", along with the way in which I presented it ( simply giving demonstrable information about music knowledge)
Coupled with the videos which contains sound exanples and demonstrations ( albeit not my own providing a written song or example of my own)
Qualifies from your perspective , as being demonstrable evidence indicative of the conclusion
That anyone spending time and energy.learn8ng music language will be able create better music than before they learned it?
( If not would you please be so kind as to elaborate my friend ?)

 

test if this post will make it to page 30

edit: aah.. nope

 

You mofos haven't seen all I got yet.
;D

 

Last edited: Jul 7, 2019

Let's look a little bit deeper at triad pairs .

We want to begin with a 7 note chord.
We don't need to go too in depth about this part yet
However just know that Lydian is a tonic 7 note chord ( the upper extensions are in unity don't clash)
We want all 7 notes to sound nice in the chord .

Let's take F note
F
Now add 5th above ( we know fifths are nice sounding)
FC
Another 5th
FC
Keep doing it.
FCGDAEB
Would you look at that
It's all 7 natural notes
That's why Lydian is unity
FGABCDEF
But we want the chord so
F A C E G B D
1 3 5 7 9 11 13


Now to create triad pairs
FACEGBD
Remove middle note
FAC, GBD

That's called G over F
A gmaj triad on top a Fmaj triad
So we have triad pair#1
Let's see how many we can make though.
( Out of F Lydian{ Fmaj13#11}

FACEGBD
ACEGBDF
CEGBDFA
EGBDFAC
GBDFACE
BDFACEG
DFACEGB

Now the context of each triad pair we are About to make is over top a Fmaj triad on bottom.
We simply take out each middle note.

FAC. FAC,GBD
FAC. ACE,BDF
FAC. CEG,DFA
FAC. EGB,FAC
FAC. GBD ACE
FAC. BDF,CEG
FAC. DFA,EGB

Now we have 7 unique forms to work with.

Let's select one of these 7 forms and begin to use it.

FAC. DFA,EGB

So we have a Fmajor triad in low register
Then in high register Dmin triad Emin t

Next we ignore the low FAC triad that is going to be the bass line and accompanyment .

We have DFA,EGB

Let's look at the DFA.

We have 3 inversions
DFA
FAD
ADF
And each one we can ascend or descend.

Start with just simple DFA
Put D on end to get 4 notes
DFAD
Descending or backwards is
DAFD

So now we look at triad 2 Emin
EGB
GBE
BEG

And same as before forwards and backwards place root to make 4 notes.
EGBE
GBEG
BEGB

Okay now going back to our Dmin triad .
DFA
Let's visualize DFA EGB
Our 6 notes
If we zero in on D
What are the notes before and after D ( in our 6 note pool)
B D E
Let's do this for each note in triad .

B D E
E F G
G A B

Look at this.

Let's take DFAD

Surround ( enclose ) notes of D with above then below than land
E B D
Surround F ( above then below then land
GEF
Surround notes of A
BGA

Let's add this to our triad itself

Now surround the notes on the high note D
DFA(EBD)
DFAEBD

Surround notes of A
DFBGA

Surround notes of F ( so above then below then land(
DGEFAD

 

Check this dude out
sound design to the fullest

 

We are looking at our chosen form
FAC.........DFA,EGB

Now the low FAC is the baseline and accompaniment so we focus on the upper
DFA,EGB

Now for each note we are going to mentally visualize the note above and below ( from our 2 triads)

BDE
EFG
GAB
Do this for Eminor as well

DEF
FGA
ABD

So this
BDEFGAB
BDEFGAB

Now we have a unique way to use the form

Let's go back to our Dmin triad
It's inversions
DFA , FAD,. ADF

Backwards ( from high notes to low notes)
FDA, DAF, AFD

Let's take go from low to high with Dmin inversions
DFA FAD ADF

Now on each high note we create enclosure with the above and below notes
DF(BGA)
FA(EBD)
AD(GEF)

Let's go from high to low
FDA DAF AFD

Now on each low note do a enclosure
( ex. Below then above then land so for F
EGF.

FD(GBA). DA(EGF.) AF( BED).


You see we have a million options now to express our form

FAC........DFA,EGB

Let's take the two triads through their inversions
DFA EGB
FAD.GBE
ADF BEG

Now let's travel up then down next
DFA BGE
FAD EBG
ADF GEB

Let's travel down then up the next
EGB AFD
GBE DAF
BEG FDA

 

I suppose entry level beginners , people starting to make music day 1 can get something out of that sure . Just hit me up when you are ready for day two homey.


Mssterclass... Step 1 hit big red button step 2 big green button lesson complete you just successfully mastered how to click on two big colored buttons!

Holy sheepshit Batman!

Stay tuned for lesson two where we will learn how too click on smaller less colorful buttons as well!
Class dismissed!
( Wow recess already? ....)

This lesson was brought to you by
Rainbow polish for clown shoes

A Stinky Pinkhole productions
In association with
Space station prison for flat earthers controlled by A.I.

 

Last edited: Jul 7, 2019

You see , we here
At SpaceStationPrisonForFlatEarthersWithGlassWindowsControlledByA.I. Inc.(SSPFFEWGWCBAI Inc.z)

Would like to provide you with a world in which every human being alive hasn't accidentally hung themselves attempting to tie the shoelaces of their clown shoes.

A Stinky Pinkhole productions.

....oh wait or is it Pinky stinkhole productions?

....damn it I can never get that right .....CUT!

 

Let's look at our F Lydian chord again.
FACEGBD

Now let's list out every triad pair in it.

FAC.........FAC,GBD
FAC.........ACE,BDF
FAC.........CEG,DFA
FAC..........EGB,FAC
FAC.........GBD,ACE
FAC..........BDF,CEG
FAC..........DFA,EGB

Now for each one of these triad pairs practice the following .

All inversions of triad
Up then down the other
Down then up the other
Surrounding the notes with notes from the other triad .
Up one down the other whole surrounding the notes at end of each triad
Alternating notes out of order and octave jumps mixed with all these patterns .

All these thousands of playing options
Are the chord Fmaj ( Fmaj13#11(Flydian

Get your ears used to hearing these varietys of sound the triad pairs provide as an expression of a major chord ( Fmajor in this case


Have a listen to this video someone made, of exploring the way triad pairs sound when mixing up patterns and rhythms

 

We have covered the basics of triad pairs
Going through the main concepts and patterns in general on how to use it.
Let's go a bit deeper with it now .
If we take D Dorian
DFACEGB

( Subdominant ii chord of c major )
We have
DFACE G B
13579.11.13

So let's see our triad pairs available

DFA........DFA,EGB
DFA........FAC,GBD
DFA ........ACE,BDF
DFA..........CEG,DFA
DFA..........EGB,FAC
DFA..........GBD,ACE
DFA.........BDF,CEG

As before we are going to select of these forms to begin.
DFA...........EGB,FAC

We want to practice all the things as discussed before , but also begin to get into more expansive options .
For example
Say we take our inversions.

DFA FAD ADF

This is low pitch to high pitch direction .
But let's do " octave displacement"
This simply means shifting the octave even though notes are same as just playing low to high.
We will shift higher octave as well as lower octave.
So to begin let's take the inversions
Add the first note higher octave ,while the rest notes stay same as before.
DFA FAD ADF

So we can see everything is same as low to high
DFA FAD ADF
Except that ones in Red are an octave higher than they would have been.
This allows us more freedom over the sound instead of just sounding low to high pitch Everytime.

What about going high to low?
FDA DAF AFD
Here is our plain high to low pitch
Next we will octave displace by going down octave
FDA DAF AFD

You see now instead of just going high to low we expand the way things sound .

Let's take a look at our form again.
DFA..........EGB,FAC

EGB GBE BEG
FAC ACF CFA

GEB EBG BGE
AFC FCA CAF

There is our inversion forwards then backwards .

Let's first make a pattern of up then down the other
EGB CAF GBE FCA BEG AFC

Now we will raise octave of first note lower ocatve of second.
EGB CAF GBE FCA BEG AFC

Here we can see that we have expanded our sound options making it wider and more expressive.

Please do this with all 7 forms discussed at the beginning.

 

At least by including video examples it becomes transparent it's a Jazz odyssey.

If you'd originally titled your thread: 'The Secrets of Jazz. Hard to find Jazz performance techniques' at least it would've been clear what's here... indeed, a suspicious mind might conclude that the click-bait ambiguity was entirely purposeful, because you knew hardly anyone would have hit the thread if you did so. It would also explain why video links hitherto have been absent: placing well-presented youtube videos fatally undermines the claim that what's here is in actual fact either secret or hard to find...

Fetishistically lost to stylized notions of elite sophistication, pure Jazz is just too clever by half for me. And imho you would do well to stop insisting that Jazz skills are essential to make meaningful music - 'cos that simply isn't true.

...er, hold on - are you a cyber AI jazzbot sent to confound and detract AS members from sonically thwarting future jazznet control?!? - the jazzy equivalent of Arnold Schwarzenegger?!?!!

 

Last edited: Jul 9, 2019

@MMJ2017 , thanks a lot for your cool theory posts.

I was wondering what you had to say about riffs, and motifs. For music styles where instead of flowing melodies or harmonies, we have essentially instantaneously grabbing dabs of sound that sit together rhythmically and interact as the track goes on, something perhaps similar to what Stravinsky attempted in the Rite of Spring in the classical world, but of course centered on the modern sequencer not the orchestra.

What are the best methods you've found to build the catchiest riffs and hooks, taking into consideration that they MUST be short and hard hitting, memorable, stir you up inside? No time for classical-inspired triadic noodling or arps, how would you work if you were limited to very short phrases and had to invent the catchiest rhythmic/melodic hooks?

 

what a load of abject misguided nonsense.......if u dont want to read the thread....DONT OPEN THE F U C K E R....!!!!!!!!
i find MMj intensely interesting and thought provoking.....im a 66 year old drummer who is trying to find gems of pitch information that helps me to express myself musically.....
remember this from foster down

IF YOU CANT FIND SOMETHING DECENT TO SAY......BE QUIET

 

Shhhhhhhh...... the drummer wants us to be quiet.

 

Have you worked with Grammy Award winners? Rock and Roll Hall of Famers? i have. You don't understand music. You're a drummer. Leave the music to musicians and just do what we tell you.

 

If you read that article, you would get to the specialization. Specialization needs hard work in a specific task. Some people would equate the hard work in a specific task with obsession. It may be a harmful interest which stops oneself from thinking about anything else but what is the remedy when all the tasks have been divided?