#minor triad arpeggios

[painted-bees]

I don't know about music either but I understood everything that was written and could imagine it fine. That's what counts :)

I was hoping. I figure music folk will read it and be like "bless her heart, she sure tried lol" but plebian folk like me would hopefully be like "cushioning the notes! I get it, I get it..." Someone with actual musical chops/vocab knowledge rewrite the scene from Raf's perspective challenge

[favemusiclessons]

This Chord Progression Is FULL Of Great Lessons For Guitar

I love working with this chord progression. It’s so great for so many examples and ideas. Mapping triads, harmonies, arpeggios, rhythm, groove …the list goes on and on. E / Ab7 / C#- / E7 / A / B7 Repeat or loop.

Note: Some people use the minus sign for minor chords, so "C#-" can also be written as "C# minor" or "C#m".

[tkdunning]

(51)

Haven't picked up the guitar in a few days. No real reason why - just preoccupied with the rest of life and trying to catch up on sleep/recover from physical exertion.

Not as much regression as I had feared. If anything, my playing seems cleaner than before but that might be because I actually got good sleep the last couple days.

Improv was more expressive. Focused on moving between modes 7 and 1. Did some tonal bending/vibrato practice on the higher frets. I'm considering raising the action on the guitar to potentially increase the tone at the expense of playing ease. I might just be using the wrong type of guitar for such things but I doubt it.

Did just a couple runs of G.O.A.T. - it's nicely committed to muscle memory despite being away from it for a few days.

Returned to improv. Trying to work modes 6, 7, 1, 2, 3 with cohesion in mind. Also trying out arpeggios/triad shapes in each mode to get away from overusing straight lines.

Re-centering my overall focus towards achieving deep understanding of the instrument instead of perfecting pieces to performability.

Also, easing up on how hard I do my weightlifting at the gym in order to preserve mental & physical energy. It will also allow me to actually grow more there (both places, tbh) if I'm working smart.

The modes that need the most work are 7 and 2. Plus 4 and 5, but that is for later on. I am mainly trying to make ascension in a minor key smoother - I am strongest in 6 and 3. If my "starting point" in minor is 6, then 4/5 are the last modes I need to learn to complete the octave. Those two (4/5) are also the most awkward shapes for me, even if they do sound good.

Creating/memorizing licks in the tricker mode shapes seems to be a pretty effective way for me to remember them. Most of these licks are in the upper region of each mode, which is what is most unfamiliar to me.

[akikoyamane]

Beat Weave

ビートの網目

for piano and fixed media Duration: 7min. [VIDEO]

photo by Manaho Kaneko 初演: 2024年8月7日両国門天ホール、演奏: 川崎槙耶

commissioned by General Incorporated Association Monten premiered by Maya Kawasaki created in Tokyo, Aug.7.2024

---

This piece is a music consisting of piano and electronic sounds. The piano keeps a steady beat with minor triad arpeggios, while the electronic sounds beat a minimalistic Four-on-the-floor rhythmic pattern different from the tempo of the piano. These “regular beats” are the element that most music circulating commercially today have. In this piece, these two beats are unpredictably and indeterminately overlapped. By tracing such weaving mesh of overlaps, I tried to touch the texture of overcrowding, excess, overlap, and coexistence in an urban environment.

「ビートの網目」はピアノと電子音から成る楽曲。ピアノは短三和音のアルペジオで一定のビートを刻み、電子音はミニマルな四つ打ちのリズムパターンを異なるテンポで刻む。「一定の拍感」は今現在商業的にも循環流通する殆どの音楽が有する要素であり、このような二つのビートを不確定に重ねる。編み込まれる重なりの網目をなぞり、都市環境の過密・過剰・重なり・共存の肌理のようなものに触れようとした。

山根明季子

back to SOLO/DUO

[nathanbrannon]

Week 6 (July 24th-30th)

Mystery/Suspense Music

When you are kept in the dark about what a certain object or situation could be, suspense and mystery are created. – waiting for an answer to a question.

Common Attributes – Things to do when starting.

Slow to moderate with rhythmic subdivisions not faster than 260 subdivisions per minute.

Commonly utilizes ostinatos and steady pulses but can also be non-existent.

Time Signature can be 2/4, ¾, 4/4, 7/4

Tempo is typically anyway from around 65 – 110 BPM.

Hits for dramatic effects.

Harmony

Harmony sets the tone/mood using minor chords or tones.

Usually in minor mode.

Moves slowly. Sustained pedals and slow chords changes are common.

Triads with added notes are frequent.

Dissonances and clusters are welcome.

Can twist triadic minor chords with dissonance for the harmony.

Have a chord with 1,3,5 but move the 5th note to another note.

Melody

Melodies can be short and fragmented – Sometimes non-existent.

If not present, the dissonant harmonic textures will drive the music.

Long sustained notes are frequent.

Mostly utilizes dissonant intervals.

Mostly use foreign or non-traditional mode.

Can use non-conventional minor scales for the melody.

Chromatism is frequent.

Bass

Long Low sustained notes that play as a texture/ mood over the chords and melody.

Orchestration

Emphasize darker tones and textures.

Pedal notes played by double bass and low woodwinds are frequent.

Ostinatos can be played by either the string section, the harp or electronic synth pules combination will work.

Ostinatos are often supported with light percussions.

Create an arpeggio from the chords but sometime change the 5th note of the chord arpeggio to make it sound like it is wondering off with another note. This will make it sound mysterious.

Low tone percussions can be added to the ostinatos or be used for dramatic hits.

Low sustained notes are typically played by the high strings with support of woodwinds.

Step by Step

Before you start – you may want to start by recording or writing down a quick melody/harmony sketch.

Combine Direction and Movement to come up with the thematic material that creates the suspense feel.

Create the background – Keep it simple.

Bass – add low end enhancements for dramatic moments. 

Dircetion & Movement 

Direction – Anything that creates a tendency. Something that leads from point A to point B (a Melody, harmonic progression that creates more tension as it progresses, increasing/decreasing orchestration density or thickness, etc). This element makes the listener feel like the music is progressing from one point to another.

Movement – An aspect of the music that creates flow or action (a rhythmic pattern, ostinato, harmonic progression that repeats/modulation, call and response between instruments or families, etc). This element creates motion and aids in creating direction.

2. Background (Glue) & Enhancer

Background – Anything that sits behind in the mix. It will usually be something that not obvious, but it is there, and you can tell when it is missing. This element fills in the gaps and helps join the different musical ideas together.

Enhancer – Something that intensifies augments or develops a musical idea, helps connect sections or adds sparkle and ear candy (textural flourishes like runs, scales and trills, woodwinds fluttering around behind soaring melody, cymbal or timpani roll swells etc).

3. Low End & Enhancements

Bass – Anything that adds an extra low end. The contemporary modern orchestral sound requires an extra layer of a solid compact and controlled low end. It is important that you can create it. We have many resources available like low synths, electric basses, sub-boom percussion hits, and well recorded sample double basses.

Trailer Music

Common Attributes – Things to do when starting.

Structure: 

Try to write in 4,8 or phrases.

Aim to include clear sections such as introduction, A section, B section, Bridge and Outro.

Try to incorporate breaks such as silent bar, in order for your music to be edited easily by video editor if needed.

Tempo and Rhythm:

Always write in simple time signature 4/4 works the best but ¾ can also work.

Aim for tempos of between 80 – 160 BPM.

Try to keep your melodies simple – either based on quarter, eighth or half notes.

Ostinatos often work well to add movement and drive to the track. Try adding 16th or 8th note patterns.

Harmony

Action pieces can be in either Major or Minor keys.

Harmony is normally based upon diatonic triads – chords that are made up of notes found in the major scale of the key. If the track has an element of suspense then you can also try non diatonic notes to dissonance.

Switching inversions on some chords can add variation to the harmony e.g. the occasional 1stinversion or 2nd inversion chord.

It is ok to use the same chord progression over and over as more variation can be provided by orchestration.

Melody

Keep the rhythms simple for the melodic material.

A repeating melodic pattern, both in terms of pitches and rhythms, whilst changing chords underneath can present strong melodies.

Aim to use the notes of corresponding chords often.

Try to avoid big melodic jumps of more than a 5th.

Counter melodies are also good way to add variation. 

Orchestration

Short strings are often heavily used especially for ostinatos.

Long string patches are good for harmonic accompaniment and melodic writing.

Epic, bombastic percussion is often used to add rhythmic detail and movement. Experiment with both high and low percussion sounds.

Brass can also be extremely effective for melodic material (French Horns) and harmonic accompaniment (Trombones).

A choral element is useful to add an extra layer of detail.

Pulsing synth basses often help to fatten up the low end of frequency spectrum.

Step by Step

Record the staccato strings layer (1. Low 2. High) 

Record long notes on top (str, brass, choir) Once you have the sketch, come up with the structure.

Optional - low pulsing synth 

Optional - percussive instrument that doubles staccato strings (snare?)

Tips and Tricks

Soft percussion (bring up volume)

Write down the chord progression (and voicing evolution) so you can repeat it in the different layers.

Re-record parts as needed as you’re orchestrating a section (ie. Short strings cover horns melody)

If you don’t know what to do with the percussion (or have fear of simplicity) star with something that’s very simple but that’s low in volume. So it’s not that obvious and then you’ll start building on top that.

Suggested Instrumentation

Orchestral:

Staccato Strings

Long Strings

Tremolo Strings

Horns (12 or more) – Long Notes

Trumpets (4 or more) – Long Notes

Epic Trumpets – Staccato Triplets (last two beats of the section)

Low Brass – Long Notes (adding character to the braams)

Choir – Long/short Notes

Orchestral (Outro):

Staccato Low Brass

Staccato Low Strings

Violins – Glissando Cluster up

Violins harmonics

Low Brass – Long Notes (adding character to the braams)

Percussion (Climax):

Decimator Ensemble drums

Epic toms’ ensemble (two separated patches: low & high)

Taika’s ensemble 

Epic snare ensemble

Sub boom hits

[classicalsqueak]

Level 4 Piano Technical Requirements (Played on Piano) Scales: Two-octave, Formula Pattern, Chromatic, Tonic Triads, Arpeggios - Play Along

Keys: D major, A major, B-flat major, E-flat major, B minor, G minor, C minor

For more videos: YouTube (classicalsqueak) / Video Index

For sheet music: Ko-fi (classicalsqueak) or SMP* (published by Ylan Chu)

[jimi-rawlings]

Balletwave

Mozart Effect

It is suggested that music with a high degree of long-term periodicity, whether of Mozart or other composers, would resonate within the brain to decrease seizure activity and to enhance spatial-temporal performance.

They showed that people's scores on IQ tests improved when they listened to classical music by Mozart.

In the classical era, periodic phrasing consisted of beautifully balanced antecedent and consequent phrases. An antecedent phrase is a question phrase, often ending on the dominant and therefore sounding incomplete. A consequent phrase is an answer phrase, often ending on the tonic and therefore sounding complete.

Melody

Arpeggio Scale

Triad Chords with Riffs

Same Notes

5 Note Scale

Technical

Piano*, arc, pad, top melody

Chords: Root Note, 2 Notes Up, 5 Notes Up, Second Chord: move second note down one

Accents

Melody Characteristics

Take out high frequency

Minor Keys

Distorted Sounds

Take out Dry and increase the Wet

A little Muddy for Underwater Effect

Syncopated Arpeggiated Symphony Percussion

Slasa 2 bar rhythm: 2 notes, 3 notes

(Timpani) Kick 808 Glide (Legato)

Syncopate

Xylophone

Cymbals

Triangle

Snare Drum

Bass Drum

Tambourine

Maracas

Gongs

Chimes

Celesta

Counter 303

Sub Synth 303 Pedal

2 Note Chord

Drums Characteristics

Bouncy

Low to mid Percussion

Half time as many amount of times for desired pitch (Change BPM to match the piece)

Technical

Strings*, arc, pad, top riff

Randomize Velocity and Drag some notes off the Scale

Strum effect chords/riffs

Reverb and Delay Pedal

Crescendo (Tension)

A sense of heightened drama or climax is normally achieved by making the music faster, higher, louder, or a combination of these. A feeling of strength could be achieved by using more instruments (especially powerful ones like French horns), and/or increased dynamics particularly in the lower register. A change of mood is often brought about by changing any of the items listed above, and usually several will be changed for a clear contrast.

Decrescendo (Tension)

It comes from the Italian word decrescere, which means to decrease or diminish. And it is useful when you want to make a piece of music sound a little darker and a little reedy.

Melodic Sequence (Tension)

A melodic sequence is section of music which is repeated at a different pitch. In this simple sequence, notes 1-5 are repeated but each is a scale-step higher. This is an example of a rising sequence, as the repetition is higher pitched. You can also find descending sequences.

Pedal (Tension)

A pedal is a repeated note, (usually the tonic or dominant in the prevailing key) which is either repeated or sustained (held for some time), while the harmony changes above it. It gets its name from the foot pedal on the organ, which can sustain a note easily while the players’ hands change the harmony. Most often, the pedal occurs in the bass line of a piece. Because pedal notes just sit there while the harmony moves on top, they tend to have a solid, static effect. That means they work well in songs with slower tempos, or at the very beginning of your verse where you generally want to keep the harmony simple so you can build on that with more adventurous chords later. It also means you pedal notes won’t always work if you want your song to be upbeat or driving.

Phrase Structure

You might be asked to mark out the phrase structure of the piece with brackets, or to say whether the piece consists of “regular phrases”, but what is a phrase and how do you identify one? A phrase is to music what a sentence or clause is to writing. In writing, you need to use sentences if you want to make sense. At the end of a sentence, you use a full stop (period), to signify that the sentence has finished. In music, the same is achieved with a perfect cadence (V-I).

Key Signature

key signature, in musical notation, the arrangement of sharp or flat signs on particular lines and spaces of a musical staff to indicate that the corresponding notes, in every octave, are to be consistently raised (by sharps) or lowered (by flats) from their natural pitches.

What is compression in music?

Compression reduces the overall dynamic range of a piece of audio by detecting when it exceeds a specified level, and then attenuating it by a specified amount. Put simply, it narrows the difference between the loudest and softest parts of a track so that it's more consistent in level.

Melodic Devices

Crescendo: increase in loudness or intensity.

An Ostinato is a short melody or pattern that is repeated continuously.

Riffs are catchy melodic lines that give the listener something to grab onto and remember,

Melodic Tension: Melodic tension can be created by avoiding the use of a tonic note in a verse; as the chord progression approaches the tonic chord, try putting a different note in the melody. This will throw listeners off and create the tension. As a release, start using the tonic chord again in the chorus.

Music Theory (What I Want My Piece to do)

Periodic Phrasing

"A period is a structure of two consecutive phrases, often built of similar or parallel melodic material, in which the first phrase gives the impression of asking a question which is answered by the second phrase."

Tension

Tension in music production is the anticipating build up of rhythm, harmony, melody, and dynamics. When songwriters or composers build up tension in a song, they create a feeling of unrest or expectation, which can develop an emotional experience for the listener

How to Make a Halloween Piece for Ballet

Start with a Minor key

Choosing a minor key means focusing on minor chords and minor scales, both of which have a particular musical character to their sound. It can vary a lot by context but when used in the right way these musical elements give the composer easy access to unnerving and unsettling sounds.

Create discord

T-E-N-S-I-O-N and release

The most striking way to create tension in the listener’s ear is with discord. Sounds which are dissonant, meaning they sound uncomfortable, unresolved, not quite right.

Add some spooky sound effects

One common hallmark of Halloween music is that it makes use of sound effects as well as musical notes. That creaking door, the howling wind, a THUD or CRASH at a vital moment. It’s a surefire way to set the right mood with your music.

Add a surprise or two

There are many ways to create dramatic or surprising moments when writing music. The general principle is to create expectations in the listener by establishing consistency, and then when they’ve settled in, suddenly change it up and surprise them by breaking the rules you’ve just established.

Tips

A lot of reverb was added to give the sound “space

The track builds for a minute then suddenly turns into a dubstep track with a very simple, almost aggressive bassline and drum track

More synths and organs play throughout.

Instruments playing in the left and right channels along with lots of reverb and delayed Echo

add to the spooky feel and space of the mix.

Dramatic Tension Sustained Organs

Spooky Sound Techniques

The key thing to remember is that the music is being used to create an atmosphere. Sudden quiet parts, then loud parts, slow buildups, unexpected noises, reverb and echo can all be used to achieve this.

Use your ear training skills to hear:

Dramatic orchestral and percussive hits at scene changes

Use of whispered text

Sound effects

Shouting in the choir

Electronic music elements

Classic horror elements like a ticking clock or “beating heart” sound

Eerie synth pad holding out a suspenseful tone

Dissonance

Music Inspiration

Chillwave

Chillwave (originally considered synonymous with glo-fi and hypnagogic pop) is a music microgenre that emerged in the late 2000s. It loosely emulates 1980s electropop while engaging with notions of memory and nostalgia. Common features include a faded or dreamy retro pop sound, escapist lyrics (frequent topics include the beach or summer), psychedelic or lo-fi aesthetics, and mellow vocals.

Darkwave

Darkwave is a music genre that emerged from the new wave and post-punk movement of the late 1970s. Darkwave compositions are often dark, romantic, and bleak, with an undertone of sorrow.

Synthwave

Synthwave (also known as Outrun) is a particular aesthetic that draws a lot of inspiration from the 1980s. While it does often get lumped in with Vaporwave, there are significant differences between the two genres. While it is particularly regarded as a musical genre, there are examples of synthwave in movies, TV shows, art, and video games. The genre is credited as being started by acts such as College, Kavinsky, and Justice, although a fair argument could be made that the first big mainstream album evoking the Synthwave vibe and aesthetic could be traced back to the sophomore Daft Punk album, Discovery.

The music strongly shares some key traits within the French House/Italo Disco musical genres. The true proto-synthwave acts came from musical scores of films in the 1980s created by the likes of John Carpenter (Halloween, The Thing, They Live, etc.), Vangelis (Blade Runner), and Tangerine Dream (Firestarter).

5 Tips to Enhance Your Tracks Using an Arpeggiator

An arpeggiator is just another creative tool we have at our disposal. Here are some practical ways to incorporate arps in your music.

1. Turn every chord into an arpeggio

This is what we call keeping it simple. Just turn the thing on, and let it work its magic. If it seems like a no-brainer, consider this tip a reminder that it’s sometimes best to not overthink it.

Try arpeggiating all the chords in a progression and see how that transforms the melody and rhythm of the sequence.

2.Create sweeping arpeggios up/down octaves

Some synthesizer arpeggiators let you transpose notes up and down. This is a really cool way to make these big, sweeping arpeggios that cycle through octaves—a perfect way to add some serious movement to a progression.

3. Create countermelodies

Arpeggiators are a unique way to set up a countermelody. The idea here to keep the arpeggiator settings very clean and simple so that they don’t get in the way of the main melody. Pick out a triad and keep the rhythm sparse; see how it interacts with the primary melody for some tasteful movement.

4. Create depth and texture

An arpeggiator doesn’t have to be the star of the show. In fact, they’re an ideal way to quietly enhance what you already have composed. Let’s say you have a MIDI chord progression locked in—duplicate that track, perhaps drop a few notes to simplify it further, choose an innocuous piano or synth patch, and load an arpeggiator. Now mix this track underneath the main progression to add a bit of depth and texture.

5. Arpeggiator on percussion? You bet!

Enough with the chord progressions, right? Arpeggiators can be great on a background percussion track for some additional rhythmic accents and groove. Perhaps start by taking the approach we mentioned in 4., but on a drum track instead of a chord progression. Duplicate and simplify the existing part, in comes the arpeggiator to taste, and mix that underneath the main drums.

Bernard Arnault the films are influenced my Mayerling

[naturally-naive]

Y'know, outside of strummed strings and woodwinds, I can't think of any instruments off the top of my head that having 3 fingers would disqualify you from playing.

Percussion, like drums, xylophones, and bells, are often played with mallets. They, along with bugles which have no valves, are playable as long as you can hold something at all (and have good embouchure).

Piano often utilizes multiple fingers, but as long as you stay with arpeggios and triads, playing with three fingers works just fine. Sure, many songs would be nigh impossible to play exactly the way they originally were because of 4 or 5 note chords, but removing a few notes or playing the notes one at a time is fine. People change songs all the time anyways, either to make it easier to play or to put their own spin on it. So piano is completely possible, though there is a ceiling that I can't figure out how to break on an unresearched reblog.

You'd think brass would pose a serious problem, but all brass I can remember atm has 3 valves. Sure, they're all side by side and therefore cannot be used with 2 fingers and a thumb, but I think that minor modifications could make 3 fingers perfect! Changing the actual instrument by, say, flipping a valve so the thumb can reach would probably change the sound, but adding a mechanism to the outside to extend the valve to the thumb would be relatively easy!

Plucked strings, like bass and harp and sometimes guitar, are also quite easy, as only one note is generally played at once.

Piano, brass, and strings might be played slightly differently and with more effort (moving hand instead of just fingers) or accommodations, but they are DEFINITELY possible to play

Strummed strings, like the guitar, would probably be quite difficult. Sure, some chords already require a 5-fingered person to press down multiple strings with one finger (like the F chord), but to my knowledge those all have the strings being pressed by the same finger on the same fret. It would probably be quite difficult to use one finger on multiple frets. Off the top of my head, I can't think of anything but sticking to really simple chords, and generous capo use. I suppose this is similar to piano, but the ceiling is far lower. Power chords should work though, I think.

Woodwinds (and sax) pose the biggest challenge in my eyes. These require MANY fingers to play a single note. Other than simply making prosthetic fingers, I can't think of a way to make playing woodwinds possible.

But yeah, anon is dumb, most instruments can be played with only minor alterations to either actions or the instrument, and I'm not even that qualified to speak on the subject. And I still figured it out!

This has been the unprompted ramblings of someone with no music degree, very little guitar experience, like 2 years of band, like 8 years of piano but I quit formal lessons when I was about 14, and a habit of watching music theory YouTube videos. Anon's claim took incidental knowledge and as much time as it took for me to type this out to debunk. Pppffbbblbllblbft :P

cant play a instrument outside of like, drums, with 3 fingers

I can actually play the bass. So.

[itsnirmal888]

Piano Yoga - Day 18 - Minor Triad Arpeggios | All Keys

Piano Yoga – Day 18 – Minor Triad Arpeggios | All Keys

Minor triad arpeggios in all keys. Nice and slow. Let’s go. Each day for 30 days, I will release “piano yoga” videos in the hopes that we can explore key areas of … source

[soundguitarlessons]

MINOR Triad Arpeggio Guitar Shapes for Soloing with Chordal Tones

[favemusiclessons]

B minor Slow BLUES Guitar Lesson for you

Please make sure that you learn triads, arpeggios & basic chords so you can enjoy soloing over the chord progression. Hope you like enjoy this lesson. Please let me know your thought. Thank you! 

07:39  Augmented?  07:50  Triads on 123 string set  08:46  SRV Triads

[laomusicarts]

Lesson #43: Minor Triad Arpeggios on Jazz Guitar Course

This week @LAOMUSIC_ARTS Jazz Guitar Course: Lesson #43: Minor Triad Arpeggios on Jazz Guitar Course

lao #music #laomusic #laomusicArts #LAO #MUSIC #LAOMUSIC #LAOMUSIC_ARTS #jazz #guitar #jazzguitar #course #free #improvisation #metheny #berklee #GIT #MIT

[nathanbrannon]

Week 2 (June 26th- July 2nd)

Comedy Music

Common Attributes – Things to do when starting.

Frequent use of ‘Oompah figures.’

Fast tempi with busy rhythmic activity. Mostly utilize 1/8 notes or 1/16 notes.

Tempo would range from 100 BPM to 190 BPM.

Very fast rhythmic subdivisions ranging from 200 to 560 subdivisions per minute.

Mostly in 4/4, but ¾ and 12/8 can be used.

Harmony

Typically, in major keys – minor keys are possible.

Often uses ‘quirky’ alterations of the scale – for both major and minor keys – most commonly 4 and 7.

Often modulates.

Often uses the whole tones scales and diminished scales.

Commonly uses Lydian, mixolydian, Whole tone and octatonic scales and tones.

Melody

Very catchy

Usually segmented with frequent silences between sections to highlight dialogues or to create funny effects.

Bass

Can follow the harmony notes by accenting low notes or the bass can all play its own bass line.

Orchestration

Small ensembles of instruments

Frequently changes the instrumentation of the melody, moving quickly between instruments.

Rely heavily on short notes – staccato and pizzicato – especially in the string section.

Frequent use of muted brass.

Short loops or vamps are commonly used to create rhythmic and harmonic foundation.

It is common to find the following:

Upper strings and mid-register WW/Brass filling up the upper parts of the harmony.

Bass instruments for all sections playing bass line.

Step by Step

Before you start – you may want to start by recording or writing down a quick melody and harmony sketch.

Set the tempo.

Creating the loop/vamp with the Harmony/Chords try to use Lydian, mixolydian scales.

Then Write the melody and then countermelody to go along side it. (If needed you can start with this if you prefer).

Bass - Create your bass layer (if it wasn’t included in the background part).

Once all this is made in piano then orchestrate it on small ensemble.

Then add layers of instruments but not to much.

Drama Music

Drama music is characterised by minor chords and positive emotions, but the key to composing it is understanding the tone, mood, and emotions that the story is attempting to convey.

Common Attributes – Things to do when starting.

Here are some areas to consider:

What type of characterisation do want to convey?

What type of emotion do want to convey?

What are you trying to say?

Slow tempos, tempo would range from 44 to 100 BMP.

Time Signature can either be in 3/4 or 4/4

Mostly uses ¼ notes or 1/8 notes. 

Harmony

Mostly Minor triads, chords, and tones. Root positions are favoured other inversions can occur for stronger voice leading.

Use of long sustained chords are frequent.

Extensions can occur but are frequent: add 6, 7, 9 sus4.

Resolved suspensions are common progressions: 9-8, 7-6, 6-5, 4-3.

Modulations are commonly used.

Melody

Mostly minor modes, notes, modes, or tones.

Themes are frequently restated when modulating. 

Mostly diatonic, predominantly using chord tones.

Common non-chord tones are PT (Passing Tone), NT (Neighbour Tone) and S (Suspension).

Countermelodies can occur. When used, they will usually rhythmically contrast with the main melody.

Bass

Follows the harmony notes by accenting low notes to create rhythmical patterns that work with and contrast the harmony.

Orchestration

Harmonies can be played by either:

Melancholy piano: The piano is often used to create a sense of sadness or introspection.

Soft unconventional and experimental instruments and sounds (Synths)

The String section alone.

Any combination of low strings (Viola, Cello, and bass), low brass (Trombone and Tuba) and low woodwinds (Bassoons and bass clarinet).

Harmonies are often being enhanced with harp playing arpeggios.

Swelling strings: The sound of string instruments (like violins or cellos) swells as tension in the story builds.

Muted trumpet or horn: This brass instrument often represents a sense of uncertainty or unease.

A sense of grandiose can sometimes be added with choir.

Additional sounds and elements can be layered to create an ambient background or sound framework for the remainder of the composition.

Percussion rhythms can be added to add a bit of movement.

The melody can be played by either:

A lyrical solo instrument: woodwind, horn, piano, violin, or cello are common. Celesta is a good alternative.

Single string section by themselves – Violin 1, Violin 2, Alto, Cello – is also common.

Or a combination of lyrical solo instrument and Single string section

Multiple upper string section in unison, octaves or double.

Adding high woodwinds to upper string section in unison, octaves or double.

Step by Step

Before you start – you may want to start by recording or writing down a quick melody and harmony sketch.

Set the tempo.

Background – Creating the background can be Harmony/Chords or anything else.

Write the melody and then countermelody to go along side it. (If needed you can start with this if you prefer).

Bass - Create your bass layer (if it wasn’t included in the background part).

Once all this is made in piano then orchestra it.

Then thicken the different layers with extra elements added on top (optional)

2. Creating the Background

Chord/harmony build can be done with piano, strings, or unconventional and experimental synth sound.

Using minor long chords, modes, or tones, with use of triads (3 note chords). 

3. Write the Melody & Countermelody

The move onto writing your melody.

Then writing the countermelody.

4. Creating the bass 

You will create a bass line off the harmony playing the notes you want to stand out lower down.

5. Orchestrating the piano sketch

Put the Harmony/chords on a string’s ensemble patch, and you want the 3 note chords to be: Violin 1, Violin 2, Viola. 

The Cello and double bass will play your bass line in octaves.

Then take your melody and add it to a solo instrument.

Then take your countermelody and add to a counter instrument as well.

6. The Added Elements on top

Layering of sounds to create an ambient background or sound pad bed.

Perhaps use harp playing arpeggio or something similar.

[grinduniverse]

Reposted from @rickbeato1 Quick Lesson - Open Triads in Minor Keys! #rickbeato #guitar #guitarist #sologuitar #guitarsolos #music #instaguitars #arpeggios #rockguitar #guitarlicks #riffwars #guitarlesson #gibson #gibsonlespaul #instaguitar #instaguitarist #guitarsolo #jazzguitar #musician #guitarplayer #guitars #guitarsdaily #gibsonsg #gibsonlespaul #musictheory #quicklesson https://www.instagram.com/p/Ca5BSP_FaSsIFICOx1jj1Psnt4QB-9yBCVwRAo0/?utm_medium=tumblr

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Guitar chord progressions

Guitarist clamps several strings and plays so that they sound at the same time - he puts a chord. If we sort through the strings in turn, we will also get a chord form, but already in the form of an arpeggio. Harmonic combinations of sounds are pleasing to the ear. When you combine them into guitar chord progressions, they take on a special magic. The same triad in a different environment gives completely different colors, although the notes in it do not change. This is one of the manifestations of musical magic. Different songs with different guitar chord sequences demonstrate this well to us.

What does harmony consist of (notes, intervals, chords)?

We create a melody by playing notes one after another, giving them different durations and pausing between them. We create harmony by pressing several strings at the same time. All songs are built on melody, harmony and rhythm. When we play two sounds of different pitches at the same time (for example, pulling С and E), we get an interval. This is also a sound combination, but it is not yet considered a chord or a guitar chord progression. Allocate 13 intervals.   Name Composition Scheme (for greater clarity on the piano) Prima One note

Minor second Half tone, two adjacent frets on the fretboard, or two adjacent keys, such as C and C sharp Major second One tone, for example, C and D

Minor third One and a half steps, C and D-sharp

Major third Two tones, C and E

Quart Two and a half tones, C and F

Triton Three tones, C and F sharp

Quint Three and a half tones, C and G

Minor sixth Four tones, C and G-sharp

Major sixth Four and a half tones, C and A

Minor seventh Five tones, C and A sharp

Great seventh Five and a half tones, C and B

Octave Six tones, C and next C

It is intervals that set the mood in guitar chord progressions and music in general. For example, the minority or majority of the triad depends on the location of the thirds. Seconds, tritones and sevenths are dissonant intervals. They sound harsh and unpleasant. When arranging, musicians try to carefully monitor the intersections of parts of different instruments so that a second does not accidentally form. The sound of the fifth is quite wide and pleasant. The sound of fourths and sixths can even be called majestic. Although everyone has their own associations. Now let us move on to triads, the components of a guitar chord progression. We have only two main triads: major and minor. The major consists of a major third and a minor, and covers its fifth. Example: C - E - G. Between C and E is a large third, between E and G is a small third, between C and G is a fifth. Thus, in a chord, three intervals merge at once. If we move one note, we get a minor triad. It first comes with a minor third, and then a major one. Example: C - D-sharp - G. A triad of two minor thirds is called diminished triad. Of the two large ones – enlarged triad. But they are not often used in guitar chord progressions, as they have a rather specific sound. There are other forms of chords - from four notes. They are called seventh chords. We can add a major or minor third to each triad (minor, major, diminished and augmented), and we get eight seventh chords (actually seven, because an augmented triad with a major third forms an octave, and a seventh chord does not work). Can you imagine how many possibilities for building guitar chord progressions? The seventh part indicates that there is a seventh between the first and last notes in such chords. Thus, from one note we can postpone 11 chords. Name Number of semitones Letter designation Scheme (for greater clarity on the piano) Major triad 4+3 С

Minor triad 3+4 Cm

Reduced 3+3 Cdim

Magnified 4+4 Caug

Grand major seventh chord 4+3+4 Cmaj7

Small major seventh chord 4+3+3 С7

Grand minor 3+4+4 Cm+7

Small minor 3+4+3 Cm 7

Small reduced 3+3+4 Cm7b5

Reduced 3+3+3 Cdim7

Magnified 4+4+3 Cmaj7+5

Notations, chords and functions

There are 12 notes in total: C, C-sharp, D, D-sharp, E, F, F-sharp, G, G-sharp, Aa, A-sharp, B. Then they repeat. This is the chromatic scale from C to C (includes an octave). But guitar chord progressions are rarely built on chromatics. Basically, modern music uses natural major or minor: each has 7 notes. In A minor, for example, this composition. - La (A); - C (B); - Do (C); - Re (D); - Mi (E); - Fa (F); - Sal (G).

Triads are built only on these seven notes of the tonality. If another note appears, it can get into dissonance and ruin the song. But the skillful interweaving of non-tonal notes or triads can, on the contrary, enrich the work. For ease of notation, each note was assigned a letter. A chord that is built from a particular note receives its letter. A minor triad is denoted by "m". Magnified - "aug". See all symbols in the table above. Thanks to the letters, guitarists can easily exchange their recordings of guitar chord progressions. For example: Em, C, G, Bb7. At the climax, the key of the song may change. And if we played, for example, Gm-Cm-D-Gm, and then jumped up a tone, then our notation should change like this: Am-Dm-E-Am. But essentially the chain remains the same. Only the tonality, the pitch of the whole song has changed. Therefore, practicing musicians designate guitar chord sequences not with letters, but with numbers, in steps: I, II, III, IV, V, VI, VII. Others generally use Arabic numerals: 1, 2, 3, 4, 5, 6, 7. This is the so-called Nashville system. No matter what your tone is, you only need seven numbers to designate the chain. But numerals don't just describe a guitar chord progression or indicate a particular chord, they emphasize its function. The fact is that all triads in the key are in certain relationships, each has its own status. - Tonic triad (built from the 1st degree: in the key of C major, this is a C major chord) - the most stable. All the rest drawn towards it, we want to end the song on the tonic; - Dominant (on the V degree) differs in that it wants to move into the tonic most strongly; - Subdominant (on stage IV) tends to tonic less. She runs away from her. If you move from the tonic to the dominant through the subdominant, the entire guitar chord progression will seem more solid, stable; Subdominant (on stage IV) tends to tonic less. She runs away from her. If you move from the tonic to the dominant through the subdominant, the entire guitar chord progression will seem more solid, stable. - II - subdominant (this chord has two notes in common with IV); - III - tonic and dominant (two common notes with both I and V); - VI - tonic and subdominant (two common notes with both I and IV); - VI - tonic and subdominant (two common notes with both I and IV). If you play different combinations of triads and listen, you can catch how similar the gravitational force of certain functions is. But in general, all this is more of a theoretical value and is used only for the convenience of building guitar chord sequences. How else can you write notes, intervals, triads and seventh chords? The old fashioned way: with the help of musical notation. Classical musicians do just that. But those who are just learning to play the guitar use tablature. They help to designate not only chord chains, but also the melody, and in general all the movements of the fingers along the fretboard. The top line is the thinnest string, the bottom line is the thickest. The numbers are the frets on which you need to put your fingers. Schematics are also used to learn chords. The bottom ruler is a thick string, the top one is thin. The vertical lines are the frets on the neck, and the dots are the places where you need to clamp.

Music notation, tablature and diagrams

20 examples of guitar chord progressions

Remember that each chain can be easily transferred to another key, and it will work fine there. We will denote them by numbers and letters in C major and A minor. These are parallel keys, in which all chords and notes are common, but arranged in different steps. If you turn to the piano keyboard, both C major and A minor will be located on the white keys. In general, these are the most used keys. Major harmonic chains (on the example of C major) Major harmonic chains (on the example of C major) 1-6-4-5 (C-Am-F-G). This one is called the "progression of the 50s", it was popular at that time. If you replace the fourth step with the second (do 1-6-2-5), you get a very similar movement. Such a replacement demonstrates the functionality of the steps: as we remember, the triad II is assigned a subdominant function. 1-5-6-4 (C-G-Am-F). A typical pop punk guitar chord progression, this combination was especially popular in the 90s. Here are the same triads as in the previous one, but they are in a different order. 1-5-6-3 (C-G-Am-Em). This variant is called "Pachelbel's progression", he used such a chain in his "Canon in D major". It also partially repeats the previous ones, but the last step is different here, it gives an unusual paint. If you replace it with a major triad, you get an interesting transition, gravitating into F. And then you can modulate or give the guitar chord progression an original direction. 1-4-5-5 (C-F-G-G). This is also a standard combination from the tonic through the subdominant to the dominant, but the last step lasts two beats. Such a move has a touch of rock and roll or country, as it was often used in these styles. 1-4-1-5 (C-F-C-G). We see here a mutual movement: harmony walks back and forth, from the tonic to the subdominant, back to the tonic, then to the dominant, and so on ad infinitum. Country colors are also felt here, but with a more comical touch. 6-1-5-4 (Am-C-G-F). If all previous guitar chord sequences sounded lively and cheerful, then this one has a more calm, thoughtful, meditative mood. It is built in such a way that it can work for both C major and A minor. After F, you can put a dot on both C and Am. 1-5-4-6 (C-G-F-Am). It can be considered as a shifted version of the chain discussed above. This form sounds strange. But it is much better: it is easier to come up with an unusual melody for it. And it also pulls us into some kind of development. 1-2-4-5 (C-Dm-F-G). Here we have the second step. The transition from I to II, oddly enough, sounds harsh, but at the same time, it and subsequent links create an upward movement. It builds up tension, and in the end, the dominant really asks to be resolved into the tonic. 1-4-6-5 (C-F-Am-G). This beautiful guitar chord progression sounds not only energetic, but also somewhat sublime. At a certain point, we fall into a minor, but then we climb out into an even brighter than F, dominant G major chord. Stage 1 2 3 4 5 6 7 Chord C Dm Em F G Am Diagram

Rarely used Minor harmonic chains (on the example of A minor) 1-4-5-5 (Am-Dm-E-E). In popular music, the harmonic minor E is more common than the natural Em. E has already become more familiar to our ears. The second reason why E major sits more confidently here is its G-sharp note, which is closer to A and thus gravitates more towards the tonic. And if you use the seventh chord E7, then there will be an additional gravity from D to E. 1-4-6-5 (Am-Dm-F-E). In this guitar chord progression, we arrive at the dominant through the sixth step. It performs a subdominant function, so we seem to play the subdominant twice, modifying it a little. Such a drawing is more interesting, it sounds assertive, bold, suitable for songs with a serious meaning. By the way, if you swap VI and IV places, the general mood will be preserved, but other colors will appear. 1-6-3-7 (Am-F-C-G). You can notice the absence of a dominant, but the harmonic gravity is still heard here, the guitar chord progression does not sound static. All this is due to the fact that the seventh step (G chord) performs the dominant function here. If you replace it with the dominant E (make 1-6-3-5), there will be a more concrete gravity and a more intense sound. Try it. 1-7-6-5 (Am-G-F-E). This is the downward movement of flamenco. It seems to go from tonic to dominant in tones and semitones, and then jumps through five steps. But this jump is from the dominant to the tonic, that is, with the highest gravity. Therefore, harmonic smoothness is maintained throughout the progression. An interesting, colorful and beautiful guitar chord progression, try to develop and transform it. 6-7-1-1 (F-G-Am-Am). Here, on the contrary, we observe an upward movement. And in this case, it is not very important what the tonic will be. We can equally beautifully come both in A-minor and in C-major. And if you play three repetitions of F-G-Am-Am, and do the fourth as F-G-C-C, you will have a harmonious flow from minor to parallel major. You can use this move to change the mood in a chorus or a drop. 1-7-3-5 (Am-G-C-E). The step from the seventh to the third step in this context sounds very lyrical and dramatic, and the jump to the fifth is quite abrupt. But the guitar chord progression doesn't fall apart, but gives rich colors. By the way, this is the case when you can use both E and Em. A minor triad gives more smoothness, while a major triad gives more assertiveness. 4-5-1-6 (Dm-E-Am-F). From the very beginning, the construction gives a feeling of incompleteness, because it starts with a subdominant and a dominant. But in the middle, it acquires a solid tonic foundation. The chord of the sixth step in this case looks like a kind of bridge between the measures. In general, this is a rather lyrical and beautiful guitar chord progression, although in a certain arrangement it can become powerful and daring. 1-5-6-4 (Am-E-F-Dm). Here, without any subdominant triads, we rush to the dominant, but by the end we come to the subdominant, which even seems to sound stable. So with the help of such a move, you can try to make a modulation from A minor to D minor, if the dramaturgy of the work requires it. 6-5-1-4 (F-E-Am-Dm). A similar guitar chord progression, but even weirder and edgier. Although here we see the traditional movement D - T. But then the drawing seems to suddenly stumble and make a jump to S, and the composition loses stability. Thus, there is a feeling of constant restless wandering. 1-4-7-3 (Am-Dm-G-C). This guitar chord progression sounds very upbeat and fun. Especially compared to the previous one. A pleasant major color appears due to two major triads and the replacement of the dominant by the third step, which, as we remember, has common notes with both the tonic triad and the dominant one. In this way, rigid gravity is softened and, moreover, takes on a major form. Rarely used Stage 1 2 3 4 5 6 7 Chord Am C Dm E F G Diagram

Used rarly

These are just a few guitar chord progressions, and that is just the basics. You can (and even need to) come up with your own chains. Read the full article

[koheh]

29/01/22

m7b5: Using the method from yesterday, I look at it as a major 6th from the 3rd to the root (ex. Eb-b3 to C-root). I was able to play the entire fretboard today using this method. Although I was practicing it at a slow tempo, it was easier to visualize than before. I was able to improvise short phrases too.

Dim7: Practicing 2 positions (7, 9) today. I am practicing over how high the moon and realized that instead of targetting the minor 3rd when changing from G major chord to a G minor, I could also target the b7. Both gave the sad feeling of changing from a major to a minor. Over the dominant chords, I was able to play with a few ideas. Either using arpeggios, triad pairs, or the dim7 arpeggio (which at more times, I will add the dim scale along with it). 

Playing 3rd: How high the moon: Today was a good practice. I managed to play through all positions without any problems. 

Chromatic approach: I started position 10 today and was able to play all the arpeggios. AS compared to position 8, I felt position 10 was harder to visualize. The arpeggio stretches across more frets than other arpeggios.