News from Heavy-Astronaut5867

  1. Going off of SandysBurner's comment, you could play the previous, assumably major melody intact over a dissonant pedal tone. Eg: play a C major melody over an F# or Db pedal.

  2. I get it’s the root note 4th and 5th , why note regular b like how asus4 has a , d , and e notes?

  3. Important to remember that other natural notes only have naturals for their 4ths and 5ths, B and F are a tritone apart. So the fifth for B is F#, and the 4th for F is Bb

  4. Certain stylistic choices singers make. Top 40 country can get on my nerves. "Dance monkey" has a nice backing arrangement, but the vocals bug me.

  5. Sorry to go off prompt with a not-book, but the signals music studio youtube channel is a good soure

  6. The general rule of thumb I've seen is to avoid extensions that create a m9 interval UNLESS you want that tension. (But it really is up to taste, and voicing)

  7. Doubt I could add anything that hasn't been said. Just wanted to say it sounds nice, I really like the C - E (major) - G - Am part

  8. There are things that are probably easier/simpler to play on keyboard than guitar, which is why I picked that up even though I had some experience with guitar.

  9. If you want a tense feel, you could always use diminished chords (e.g. Girl Anachronism by the Dresden Dolls, not that they stick with that alone). The octatonic scale's a possible idea, plus you can utilize some semitonal chord movement

  10. It can useful for dissecting music you like. It can be good for trouble-shooting when you're stuck or giving ideas on how to expand an idea. Or you can use a common chord progression as a starter and try to build your own melody or variations on those.

  11. Sure, chords are fine on bass. You may wanna avoid starting chords on your low (thick) string, but the powerchord should work on most spots on the top three strings; atleast that's preference when playing bass, you do whatever sounds good to you.

  12. Along with the modal mixture, you may also have a chromatically descending line in the last three chords (depending on voicing): G in G, F# in D, F in Dm, back to E in Am.

  13. I believe the last movement of Shostakovich's piano trio no.2 uses it, though he'll through in a b2 too

  14. Exposure, perhaps. While you do get references in movies/cartoons to various classical and romantic pieces, you have original and well-known scores that draw on romantic music

  15. I've seen Neo-Riemannian theory talk about augmented chords as a connective tissue this way, but not sus chords

  16. I think you might be focusing too much on the whole-step/half-step component, or just implementing it oddly. What you're doing is mirroring the intervals, not inverting them.

  17. Just why are they called seven chords and not b7 chords and I don't get how the scales work around them.

  18. Convention? Not sure when it started being called that or by whom, but it's just the common way to label those.

  19. There's Adam Neely's video on the key of Sweet Home Alabama that broaches this topic. Spoiler alert: it refers to Tagg's model and and the idea of dual tonics

  20. You could try to justify this with one scale, one possibility being a hexatonic scale or others mentioned in this thread.

  21. Yeah. It's kinda clunky if you don't have an up or down arrow key to use, but a definite attempt to not favor major tonality chords.

  22. If you handed an instrument or some means of composing to someone who has literally never heard any sort of music, then yeah maybe

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