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ChipMusic.org / Forums / General Discussion / Breaking the rules of tonality, how do you do it "right"?
And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.
german "H" is what we call B natural and german "B" is what we call B flat :-)
SketchMan3 wrote:And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.
german "H" is what we call B natural and german "B" is what we call B flat :-)
Thanks for teh correction. 
And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.
lol
SadPanda wrote:And I thought I was clueless on page 1. Straight up Alicia Silverstone clueless now.
Really not as complex as it sounds. Half this stuff we're saying, I know, sounds like pretentious fluff, lol. Like, bluesy music does that kind of stuff all the time.
Take a look at a couple of popular songs. "All Shook Up" by Elvis Presley, at the second bar, over a Bb chord the melody goes for a brief moment to C# (in the downbeat of the second beat), because of its position it blends perfectly with the rest of the melody.
You're talking about the "Lo-OVE" part, where it slides from a C to a C# , right? That actually depends on the version of the song. Sometimes he doesn't do it. That note is the Dominant 7th of E, so it's logical because E is in the key of Bb. In fact, the very next chord progression is E7, F7, Bb.
And, if you're wondering, no I did not know that off-hand. Yes, I did pull out my ukulele and figure it out.
The part I´m talking about is at the very beginning of the song "what´s wrong WITH me?" or when it cames to the other verse "and my KNEES are weak?". "With" and "Knees" fall on the C#.
The progression you are talking should be Eb7, F7, Bb (I think there was a typo in your post and the "b" for Eb did not appeared). Then C# would be sound as dominant 7th of Eb (in fact, in this case it would be Db and not C#) In these kind of situations although they sound alike, they have different names.
By the way, I agree with you, It is better to try all these things we are talking about with an instruments in our hands.
SketchMan3 wrote:And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.
lol
yeah i wanna know how you came to this conclusion, given that there's already an A in BACH 
Saskrotch wrote:lol
yeah i wanna know how you came to this conclusion, given that there's already an A in BACH
Probably because in the alphabet H is after G, and on an instrument A is after G. He's not the only one I've seen make this conclusion, and if someone asked me I probably would have made the same mistake.
well yeah, but it's the kind of mistake you make for 2 seconds and then think "OH WAIT why would they replace the FIRST LETTER with a different one that's kinda silly i sure am a goose"
i don't think any less of you, though :>
Last edited by Victory Road (Aug 7, 2012 12:13 pm)
just, fucking, pick the notes that you hear in your head
Telerophon wrote:This is actually called a "quarter-tone," and playing music with tones between those defined in equal temperment is called "Microtonality" or "Microtonal Music." Composers like Krzysztof Penderecki are particularly well known for this.
And John Cage
and pretty much anyone else who writes music based off of something other than the scales of western classical music
Saskrotch wrote:lol
yeah i wanna know how you came to this conclusion, given that there's already an A in BACH
I just skimmed through that section of my music appreciation book... >_>
I didn't even know that that was an actual musical note in the German system. I thought Bach was just like... "Hmmm.... H comes after G, and, in music, A comes after G, so H = A." It makes sense to use a musical Motif of B, A, C, A. Doesn't seem all that illogical to me, though it did cross my mind that it was a bit redundant for a guy like Johann.
well yeah, but it's the kind of mistake you make for 2 seconds and then think "OH WAIT why would they replace the FIRST LETTER with a different one that's kinda silly i sure am a goose"
i don't think any less of you, though :>
I wish I could come back with "Well, two seconds after I typed that and hit "'Submit Reply' I realized the mistake but then I had to leave so I couldn't fix it and I forgot."
But I can't. 
You guys all knew that H wasn't a wrap-around A in German music? Man. I need to get out of this small American box I've been living in...
just, fucking, pick the notes that you hear in your head
Yeah, that works too. This where the "honesty and expressing what's inside of you" thing I mentioned comes into play.
Last edited by SketchMan3 (Aug 7, 2012 7:08 pm)
Ultimately, your sense of melody comes from your own musical tastes, so if you somehow find yourself creating straight up vanillacore-diatonic melodies then maybe you should look in to expanding the types of music you expose yourself to(but seriously tho, I don't think it's even a natural thing for anyone to process strict diatonic melodies ALL THE TIME unless they're really thinking too hard).
Don't use Microsoft Songsmith to write harmonies. 
I agree with this statement quite a bit, as most blues and country types won't change keys besides gear shifts, so it's about what you listen to, your musical culture.
Last edited by chunter (Aug 8, 2012 1:44 am)
And Bach is awesome. He made a composition based on the letters of his name, (H is A, if I'm not mistaken). That's awesome.
What a wanker.
