his name is No Avenger not avanger...big difference....further he only now this thread if right name is posted

EDIT i did same misstake back then

 

Last edited: Jan 6, 2019

Living without ideology (music's is one of them) for some people is impossible and they usually need to find some other people to ascertain and value them for their ways of thinking.

 

Some people can live without but sometimes chose to learn from others experience. It's not necessary to deny what happened before you to be free, unless you're too weak to make your own choices once aknoledged.

And most of all this is each ones choice, you seem to be trying to demonstrate that living without it is superior, and that's another dogma, specially the way you express it....
So please let these threads go as obviously they are not directed to you, "superfreeintelligentnomarksnotheorydogma" guy lol

 

Last edited: Jan 6, 2019

Yes,for example.
How to harmonize a melody that is in chromatic scale,
Meaning which chords do you choose,example: melody in C,C#,D,E,-> Do you choose C or Cm, C# or C#m , D or Dm , E or Em ,chords?

 

Last edited: Jan 7, 2019

You have a big problem man,I don't know why you are so dismissive since the beginning of this thread.
Are you sure to better than others?Are you the boss?

I've ever been disrespectful with you?

If I understand you know everything since you were born and you never learnt anything in the past.You never asked things in the past?

From what I read from you you're more unpleasant than skilful,my friend,relax.

Of course if nobody explains me how I can compose in chromatic and its theory-if it exists-,I'll do with my ears.
But knowing theory is very important for me.My music has been a lot better and "professional" since I learnt theory.

I've never said composing in chromatic is a good idea,I've told it's for my knowledges,it's just my curiosity.I want to try.

I love learning new things,not only in music;that's who i am.
In addition of that I'm not ashamed to ask somebody something,I'm not ashamed to say I don't know something,that's the way for being better in my opinion.
I didn't learn music at school,I've learnt all i know about music alone and reading people since 18 years.So I don't know all about music yet.

And if you don't like this thread go elsewhere,it's simple.I don't understand.

 

Last edited: Jan 6, 2019

The large majority of the world's population!

It's funny but sad. What academic composers like to do is to focus on meta-languages, self-descriptions of their techniques. This never gains relevance outside the academic community, unless the featured work gains some recognition in the mass media. Otherwise, you will remain restricted to a specific space. The problem is: in the face of the lack of interest due to the composition of music that doesn't generate synergy in other humans, academic composers begin to question the widespread taste in the main stream culture for fear of disappearance.

We are communities of enculturated listeners (first-culture learning). There is no problem with that, unless you want to prove that musical practices, tastes, and habits of the majority are questionable from your point of view. If this is the case, good luck in the fight against Quixotic windmills.

Yes, you have the right to isolate yourself from communities of enculturated listeners. However, if the material you write does not have recognizable musical schemata (patterns), it will be categorized as culturally disengaged (even if it contains other types of patterns - like serialism, new complexity, whatever - what matters is whether they are mapped into genres and styles recognizable by a enculturated listening community, I mean large population samples, not isolated groups). if it is mapped and it's arranged in a new way, it may be categorized following the process of acculturation (like a second-culture learning, like changes in each culture due to acculturation, as co-evolution).

As everything to you revolves around the search for a boring "novelty" (yes you're so boring dude), you should try join some academic community (a well-defined audience of new music aficionados, mostly made up of composers and a few performers). It should be noted that this community does not correspond to the great majority of music listeners or even musicians, who, in fact, do not give a damn about distal hi-brow abstractions (removed from the context in which we live).

 

Last edited: Jan 6, 2019

now that is a devine true statement right there..

you kidding!? there should be a freaking rule made only for his never ending gobbledygook..

 

Last edited: Jan 8, 2019

OK, guys great. What about Chromatic composition?

IMHO, when you go chromatic, one of the possible way to decide which chords to use, is to look at your melody in terms of path. ie which are the more important notes in it.
You gave a this example: C,C#,D,E
Let's imagine that C is a note used to get to C# and D is used to get to E, you will have a 3rd interval C#-E that could be understood as a minor interval if C# is your reference.
But if we imagine (or feel) that C is important and C# and D are used to get to the E you will have a major interval.
Etc...
So what you feel about this melody, the length of each notes, and what is there before and after, will be very important to feel and decide which chords to use.

 

Ci provo.
In un contesto tonale (maggiore o minore), armonizzando tutti i gradi della scala ascedendente come fondamentali tranne il settimo , la scelta più basilare è quella di considerare la nota cromatica come "sensibile" della nota successiva e, quindi, armonizzarla con una settima di dominante in primo rivolto (oppure una triade maggiore in primo rivolto), oppure con una settima diminuita (o quinta diminuita).
Es. C: C maj C#: A7 or C#° D: D min D#: B7 or D#° E: E min (meglio C maj/e) F: F maj
F#: D7 or F#°G: G maj (meglio C maj/g) G#: E7 or G#° A: A min A#: F#7 or A#° B : G7.


In questo momento non ricordo come si traducono in inglese alcuni termini tecnici (sensibile, primo rivolto), per cui ti lascio il post in Italiano, sperando che tu possa comprenderlo (e che risponda, almeno in parte, alla tua domanda)

 

Last edited: Jan 7, 2019

Thanks Oly,I understand now.
In fact I have to select the notes in my melody that could form an interval for my chords,a major or minor 3rd,a 5th for example, but I must keep in mind too to build my chords from the main/most important notes of my melody.Great!Music is logic.

We can also say that it could be also useful to build a melody from a kind of a key note and to use with at least one note that could form an interval,a 3rd or a 5th.(example C,C#,E or C,C#,D# or C,C#,G)

You compose in chromatic but you have to apply anyway theory/chords coming from the other "common" scales.

 

Last edited: Jan 7, 2019

Well, remember that 3rd, 5th and so are only the "obvious" intervals. A 2nd can be as valid as a 3rd and can be combined with it. Not to speak about 7th or higher intervals (9th, 11th, 13th...) that are extremely useful to enrich your chords with different colours.

It's a choice. But not necessarily, or at least, not only.

As an example you can listen to Bulgarian Choirs recordings were you will listen to very rich unusual chords using 2ds, 4th, and "dissonant " (for orthodox ears) chords progressions.

( Side note: All this is how I feel it. I'm not a formally formed musician.)

 

Last edited: Jan 7, 2019

I very rarely use chromatic scale.But when I do it's just for a brief moment at a passing point,or transition from one part to another to kind of create tension or chaos and its usually descending.Sorta evil circusey kinda vibe lol.I've heard it in a lot of metal solos too (Slayer) however done quite sloppily and franticly.Have heard it a bit in other subgenres of metal too.I'd give flat 2's,flat 5's,and flat 7's a try far as chords.

Hard to give a definitive answer,which is why I just gave an example of how I use it.I use it periodically to create tension or suspense for a moment.I use diminished licks in a similar way for same reason sometimes.

I'm pretty sure any note in the scale will work to use as a chord since it uses all 12 tones.Whether you chose to make any chord major or minor (if were talking triad chords) or what order you put them in far as chord progressions is a matter of tonal preference.Or could play in power chords (root,5th,octave).Those don't have a 3rd so work with maj or min.I'm really just thinking out loud at this point,lol.But thats my 2 cent.I'm not an expert in theory.Or anything really...

 

Yes I know,I should have told "3rd or 5th intervals FOR EXAMPLE" .I forgot "for example" when writing my comment,sorry.I know all the intervals,conssonances and dissonances.I've carefully studied these sides of the music theory,they are very important to assimilate in my humble opinion.

 

Last edited: Jan 7, 2019

ICWC and Mynock off topic comments, have been cleared.
OP asked for something precise, his question is well written... There is no reason to get out of topic.

 

@Olymoon I can give him 10000000000000 ways (more than MMJ or whoever you know) to do it but I won't because I don't want to lock him away for years in the theory or whatever prison to waste his youth.

 

Perfect, so simply pass your way, instead of writing off topic comments.

 

OK! I'll do it but please forgive me. It was all just water under the bridge.

 

Yes, please! Thanks Oly!

 

Hey @Blue

When someone describes a musician, as someone who composes with the chromatic scale, they are saying that they don't know what scale the musician is using. This is used to describe musicians who play 3 or more half steps in sequence, which evokes the chromatic scale as a fail safe descriptor, even when a particular non-chromatic scale is being used, and is very often used to describe heavy metal players. Power chords are often used by these musicians. Most players are not composing songs with the chromatic scale, technically speaking.

Every possible scale has been mapped out. Musicians write melodies by ear, and then look up the possible scales based on the notes used in that melody. I'm sure there are scale calculators available online. Please give a link to your favorites, I have not looked for one in years. These calculators, I assume would give you the the diatonic chords and common substitute chords for each scale. Below, I describe how you can figure out the diatonic chords of any scale.

Now, I will give you the answer you seek. In western theory, the diatonic chords of a particular scale are derived from using every other note of the scale. So, starting with A, here are the diatonic chords of the chromatic scale:

1. A B C#
2. A# C D
3. B C# D#
4. C D E
5. C# D# F
6. D E F#
7. D# F G
8. E F# G#
9. F G A
10. F# G# A#
11. G A B
12. G# A# C

 

Last edited: Jan 8, 2019

Thanks for your answer.
Usually I make songs in Cm,G or Gm,F or Fm.But I like trying new scales.I make electronic genres,dnb,ambient,tekno.

But I don't really understand when you list what you call the diatonic chords of the chromatic scale;
Is it a "rule" to use one note on two for making chords in chromatic? (example A B C#)

If I apply what you said I can't build a 5th ,isn't it? It will be a diminished 5th (6 semitones instead of 7 semitones.)