News from 65TwinReverbRI


























  1. I see your post has been downvoted. I'm going to offer a possible reason why.

  2. This is an impossible question to answer without knowing a ton more about you.

  3. Thank you so much for a very detailed answer. I visited the link you provided and looking up other W.A. Mozart examples one by one. Amadeus was a genius I believe, it's not a surprise if he avoided galant schemes. I guess it is also no surprise that he employed some schemes as he exposed to them.

  4. You're asking why pieces that weren't the best examples of Galant Style not included in a book on Galant Style?

  5. First thanks for spending the time to write this and when it comes to functional harmony I hear what you’re saying recently I’ve been trying to use functional harmony to write songs but I can’t help but feel somethings off about it, like I’m trying to do things backwards. Also I was watching this Bill Evans trio video on YouTube and was just blown away by how he was managing to effort pluck these perfectly imperfect melodies (you know that real good jazz stuff) just out of thin air. I mean other than hours of practice on piano there must be some knowledge of functional harmony that he’s using to come up with that kind of stuff.

  6. See - that idea of "there must be some knowledge of functional harmony" is a wrong approach. There's not.

  7. Yeh that made me think of this idea about the “golden age” of human self awareness when it comes to music and in general, I happen to think it was around the 60s where people were becoming more self aware than ever before but not too self aware like how things are now with the internet. You’re definitely right about the internet being the culprit for this perhaps unhealthy obsession with music theory and I’ve definitely fallen victim to it. I also have this idea that the way out of this isn’t to retreat back into a less conscious state but instead to become MORE aware and use music theory as a tool on the side rather than something to strictly follow. Since once you get exposed to certain concepts it’s hard to shake them out of your head and forget about them completely, what do you think about that?

  8. Either arranging or analysis - I'm interested in using it to write chord voicings but also just generally interested

  9. Well I suppose the answer to your original question then is no - not anything widely recognized as a standard or anything.

  10. The LR Baggs M1 you linked is pretty much the industry standard. No mods required. Predictable performance. Decent resale.

  11. Thanks - any other site you'd recommend for analyzing / understanding the theory behind a chord?

  12. Wow! Thank you very much for your insight. I'll have to read over this a couple more times to get a good idea of what you mean, but it seems to make sense so far. I've heard the term atonal used to describe a lot of the music I like, and I always just assumed it meant to throw in a note outside of the key to make things feel more ambiguous. Looks like there's a lot to dig into here! Now that I know where to look, I can do a lot more research on the matter. Thank you for your help!

  13. If I can figure out the key to a song....how am I supposed to figure out the scale?

  14. Here's what I do - Mandolins don't have an 8ve up note like 12 string guitar so actually it can sound more like a mandolin just by playing higher up the neck and playing mandolin voicings. I do this with a capo on the 10th fret (so you could use poly capo) and use a chorus (since the dual strings have a chorusing/phasing effect - but you could use a pitch shift thing but set to unison and just detune a cent or two).

  15. Funny enough I know an extremely accomplished guitarist who is the same way. He directs a music school and feels anything he writes is theft of other artists. My suggestion is give yourself specific assignments. Write a song without an instrument; write an AABA song that isn't more than 3 minutes long; take a Beatles chord structure, play it backwards, and come up with a melody; etc. I took songwriting classes so I had to write for grades. Then I joined songwriting associations. Classes, groups and open mic are also all good ways to motivate writing. Accept that borrowing ideas and building off of them is a natural part of songwriting.

  16. I’m watching it for the first time at the moment. I don’t love it as much as Buffy but it’s solid, I think every Buffy fan should watch it through at least once.

  17. It's solid and Angel gets to be more human, have a broader range of emotions. David Boreanaz learns how to act as well, so there's much less random blinking.

  18. No, and no. I'm quite trash when I actually play an instrument, I'm speaking more in terms of making something in Ableton. I do (badly) play some orchestral instruments though.( Cello, violin, piano.) Despite how much I like the cello, the only instrument I'm actually any good at is the piano. Closest thing to orchestral rock I can more or less play on piano is "his world" from sonic 2006 which is orchestral rock but, of course, a piano in my garage ain't an orchestra.

  19. You have to learn how to play the music to really understand how to write it. Figure out the parts on piano, or get scores. It's a lot of work but in the end you'll A. Know how to play more music, B. Be a better musician, C. have more reference points and experience for making your own stuff, and D. It will take you far less time to write once you have this experience as opposed to just using trial and error - a LOT of trials and a lot of errors to find what sounds good.

  20. I use musescore a bit and you can input notes with a midi controller

  21. Thanks - someone else mentioned it didn't and I thought that was a bit odd.

Leave a Reply

Your email address will not be published. Required fields are marked *

You may have missed