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This is maybe obvious to others but I spent ages trying to figure this out, despite it being rather simple. all keys including blacks are: c, c#, d, d#, e, f, f#, g, g#, a, a#, b The major scale in the c key only contains white keys: c,d,e,f,g,a,b EVEN THOUGH it only contains white keys, you still have to only choose chords by their relationship to the black keys. Ex. The most popular chord is c/e/g. This is the 1st, 5th, & 8th notes of ALL keys (including blacks). Now you can only choose chords in this same relationship (1st, 5th, 8th) with the property that the resulting keys are white-only. For example the 1st, 5th, & 8th notes of key D result in a black key, F#, so that chord is UNUSABLE (f# not on scale). However F's 1st, 5th & 8th notes result in all white keys and so does G's. So you can ONLY play this particular chord in C (ceg), F (fac) and G (gbd). I used to incorrectly follow a ceg with a dfa and egb, reasoning they are all every other WHITE key, but the latter two don't have the same relationship to the BLACK keys so they sound bad together. (There is of course exceptions etc to all of this but this seems to be the main core. The same thing happens when you choose a different chord, ex cfg.. you can only play it in the certain keys that result in all whites) I havn't figured out if its generally better to make the chords first, then melody; or vice-versa. But doing the former so far I already made much better sounding note composition then all my sucky previous efforts and it's also very easy to add lots of extra complex stuff (all sounding fine together) because you entirely restrict your melody/melodies) to the current chord. |
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(all assuming you're entire piece is in key c of the major scale for simplicity since that only has white keys) |
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bullshit all of it. |
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It could very well be. Am I completely wrong; how? |
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You don't even need to play the chords, but the point is that you define what keys are allowed at what times. youtube doesn't use chords together but the notes of the chords individually. This is beginner stuff. Awesome stuff like .. I probably can't even compose note by note with software. This person simply improvises it but I don't understand it. |
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i didn't click any of your links, but-- the twelve tone scale you listed is known as the chromatic scale and then you listed the C Major scale now, if you choose to stay in one scale then you should reference the tones by number based on that 7 tone scale... so it's not exactly 1st, 5th & 8th (though you are free to look at it that way) but more the 1st (root), 3rd & 5th in every major scale, if you build a three-tone chords starting with each of the notes in the scale,,, well they go like this in C: C major D minor E minor F major G major A minor B diminished all of those chords use only the notes of the C major scale the minor chords have a flat 3rd (the 4th chromatic tone) the diminished has a flat 3rd plus a flat 5th (the 7th chromaticly) also, if you want to use the same set of notes but give it a minor flavor you can use the 6th, A, as the root because c major = a minor that's part of the circle of fifths fun music theory is only that,... |
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BORING. |
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just kidding, keep going. |
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well, only if I get asked more questions... |
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Nope, that ain't right :) |
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There's tons of chords to be made, not all of them have to sound "good". |
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The reason I looked at it as 1,5,8- not 1,3,5- was to point out (using my once again incorrect concepts apparently) that: ceg fac gbd all have the same 1,5,8 relationship PLUS all have white keys. Therefore maybe I thought a progressions of these chords would sound good because they have the 1,5,8 symmetry. ---- ex. Looking at them as you said: 1,3,5: ceg (135 c major BUT 158 chromatic) dfa (135 c major BUT 148 chromatic) bdf (135 c major BUT 147 chromatic) Therefore maybe they don't 'go together' because of their differing relationship on the chromatic scale. I still don't have a clue apparently. |
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Go to some Piano lessons, it helped me a lot with that stuff. It's boring and pointless mostly. It's just nice to know that theres something called a chord, and it can be either minor or major. What sounds good, you can use you intuition for that. |
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your interpretation is more serial than tonal. You should look into that.. (look up ``12-tone composition''). Tonality is based around the fact that people think a bass motion of a fifth sounds powerful. basic tonality is an evolved phenomenon upon which people eventually added a lot of reasoning. |
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swears - you are truly talented W m W - if you want to play nothing but major chords because they sound correct to you then that's what you should... common in most music is the concept of Dissonance and Resolve the notes go together because your divinely major chord won't sound so ominously godlike unless you set it next to some cantankerous minor chord that makes you want to cry from your browneye.... and dfa is not 135 it's Dmin (1 b3 5) and bdf is not 135 but Bdim (1 b3 b5) the 'b' stands for flat - once chromaticly down while '#' stands for sharp - once chromaticly up the 'b' and the '#' are called accidentals and a not without an accidental is called 'natural' if you are referencing an interval the accidental goes before b3 #5 if you are referencing a note the accidental goes afterwards A# Gb make a chord progrssion like C G F Amin and repeat it... you should hear a very familiar resolve between the Amin and the C |
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??? It's just generating random notes in a Cmajor scale, I didn't even write it. |
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You wraught the path to it! |
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hmm... give me the most basic heuristic for making something that sounds good in the "c major scale", ignoring complex music jargon. Nothing the slightest bit fancy or complex. All c major so only white keys are used I guess. Do you start with chords, then add melody later or vice versa? And do/can/should you ONLY use white keys (nothing fancy in this example). ((I keep thinking I can always use software to highlight all notes then select +1 as many times as I want therefore turning it into any other scale key I want, so might as well always do it in c major first since that's easier)). How do you choose chords? ANY 3 white keys at random? I'll see if I can upload a track by this artist imaginary fantasy. I want to make music like that and never could figure it out before; maybe someone can hear it and give me some basic pointers. |
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Melody before as Think about major as whole whole half whole whole whole half And minor as whole half whole whole half whole whole. Also, just to note when I dunno how mu |
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Oops, I missed the first part of that. If you really want to be |
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ha ha, those sideways v's are interpreted as tags or something so erase stuff |
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tone E is yellow color is the note for the brain!..of the clear thinking,it stimulates the mind and clean the trash of thinks. tone C is red color,the power! the pure nergy,its vilatist and gives energy.good for yr blood system. tone G and A are cold colors notes.are quiets and gives armony.relax the miond and helps for quiet atmospheres. Tone D is a mix of color red and yellow,associated with concetration! but the red on it can increase nervous,is good to equal other tones. Tone F mixed of yellow and blue colors is the notecolor of the armony and equilibrium.helps for nerves and flu,its a cure color...like the way you feel looking greentrees landscapes. Tone B ,red and blue!...not redbull!!!...is ,it help to connect with your spiritual "self.its the color of the "changes". is this a equlibrated post of me on this thread espero que entendais bien mi ingles* |
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Aw shit. |
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i think you should find a community college with music theory course - yes - play any 3 white keys at random i;ve been at this crap for 20 years easiest way to build a chord is start with your root note (maybe the note the melody is curently playing) and then add every other note after it going up from whatever key you are in so that chord progression -- C : ceg G : gbd F : fac Amin : ace has those notes... a chord progression is a series of chords that get repeated you can come up with multiple melodies to go on top but as far as which should you write first? i'd say look at it another way -- do you want to write from ear (being you can be inspired to hear a freshly created melody or a set of chords) or are you gonna randomly play with a geometry you hardly understand? because you can just slap some chords down and twiddle with the melody until you like it or you can sing a melody, try to notate it into whatever software your using and then try to find relevant chords to it i suggest years of practice |
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you take the normal scale c d e f g a b c. and choose intervals. first third and fifth. then it goes like Major, minor, minor, Major, minor, minor, and augmented (not sure i always forget what's b d f is) so c e g. that's a C major d f b is D minor e a c is E minor etc so you count how much semitones there are between each interval and you can construct any chord. then you go adding 7ths elevens 2nds bla bla. not really hard. if you do a chord progression in the scale of C then a melody in the key of c should sound ok. if you change the chords probably the key should be changed. major scale is base on this metric: (root) - 1 tone -> (second) - 1 tone -> (third) - 1 half tone -> (fourth) - 1 tone -> (fith) - 1 tone -> (sixth) - 1 tone -> (seventh) - 1 half tone -> (eight/root) so the scale of G major goes like: G A B C D E F# G So of you want to harmonize a melody in that key you use the chords that the scale generates. like B minor: B D F#. bla bla yes m W m it's all about the intervals between the notes. this is what you call the relationship to the black keys, it happens cus scales have structure. get a book onchord theory it's not really hard to get it. |
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well I'm reading this shizit but am gonna let this post sink unless I can upload an imaginary fantasy track. |
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