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NC in the US of America
an0va wrote:

edit: also, wtf is the "that Avril Lavigne chord progression?"

In major keys: The I V vi IV


http://www.youtube.com/watch?v=yk8fB4CRse4

And the vi IV I V

I know that she didn't invent those, but those are pretty much all she uses, and she was the one who caused me to discover the prominence of those two progressions, so that's what I call it.

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Brighton/Southampton
SketchMan3 wrote:
an0va wrote:

edit: also, wtf is the "that Avril Lavigne chord progression?"

In major keys: The I V vi IV


http://www.youtube.com/watch?v=yk8fB4CRse4

And the vi IV I V

I know that she didn't invent those, but those are pretty much all she uses, and she was the one who caused me to discover the prominence of those two progressions, so that's what I call it.

Ah, the "Stereotypical Pop Chord Progression." Yup, 90% of pop music uses that progression. It's annoying

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Chicago IL
Solarbear wrote:

A nifty way to reach truly atonal sounds in LSDJ is with the PU FINE detune! I like to call the areas between sharp and natural 'narps'

THE ONLY TRUE ATONALITY IS SILENCE

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Brunswick, GA USA
SketchMan3 wrote:

I know that she didn't invent those, but those are pretty much all she uses, and she was the one who caused me to discover the prominence of those two progressions, so that's what I call it.

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I'm just laughing IRL that you chose Avril Lavigne as the archetype

I've heard it called "the T"


edit: brb making avrillavigne-tune

Last edited by an0va (Aug 6, 2012 11:46 pm)

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Austin, Texas
Solarbear wrote:

A nifty way to reach truly atonal sounds in LSDJ is with the PU FINE detune! I like to call the areas between sharp and natural 'narps'

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.

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NC in the US of America
Telerophon wrote:
Solarbear wrote:

A nifty way to reach truly atonal sounds in LSDJ is with the PU FINE detune! I like to call the areas between sharp and natural 'narps'

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 big_smile

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Lexington, KY
Telerophon wrote:
Solarbear wrote:

A nifty way to reach truly atonal sounds in LSDJ is with the PU FINE detune! I like to call the areas between sharp and natural 'narps'

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.

=O

I have found a new thing to get involved in. Thank you.

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Paso del Rey, Argentina
nickmaynard wrote:

can you share examples?

Try this. Play a D minor chord. D minor basic triad is D - F - A. The corresponding minor harmonic scale is D E F G A Bb C# D. As an experiment , play a sucesion of notes over D minor, and one of the notes will be G#, which does not belong neither to the chord, neither to the scale.
Play in eights over the Dm chord in 4/4, the following notes G# A C D C A C D (Being G# the lowest of them).
Now play A G# A C D C A C. This time the G# will tend to sound more integrated to the musical idea than in the first case (always depending on the way that you play it... we are talking about volume, accent, attack...) This is because the note outside the scale is played on the upbeat. Now, play A C A G# A C D C. This time the G# blends really well, as it is on the upbeat of the second beat which is supposed to be a weak one. Having this in mind, you  may decide when you want the "outside" note to be more shocking or when you want it to be more subtle. It will depend of the idea you are trying to transmit as composer, at that particular moment.


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.

Another example, the jazz standard "Angel Eyes", in the first bar (Second beat upbeat) it has an Ab over a Dm6 chord, which is an outside note, but this note lasts to the next beat and the chord changes to a Bb9 chord becoming an inside note of the second chord as it is the minor sevenths of Bb.

You´ll find several examples looking in tunes here and there. Certainly, as it was suggested, pay attention to Bach, we could say that the man invented the rules and broke them better than anyone. I think it could be a good excersize, analizing his music with the partitures.
In jazz there are lots of cases of playing outside the harmony from subtle elegant ways, such as Duke Ellington to totally avant garde expresions like Sun Ra.

Hope this can help.

Last edited by wandering genie (Aug 7, 2012 1:31 am)

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Chicago IL, USA

And I thought I was clueless on page 1. Straight up Alicia Silverstone clueless now.

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NC in the US of America
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. big_smile

And, if you're wondering, no I did not know that off-hand. Yes, I did pull out my ukulele and figure it out.

Last edited by SketchMan3 (Aug 7, 2012 3:13 am)

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Harrisonburg, Virginia
SketchMan3 wrote:
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.

Well, I'm just barely keeping up, but I'm missing all of the chord names you're throwing out. It is pretty hard if you never learned the terminology. I learned about half of what you guys are talking about in the 10 years (fuck 10 years?) I've been playing sax/band, but the rest is just flying over my head. But hey, the more you know, right?

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Indiana


› Show Spoiler

Last edited by boomglitch (Aug 7, 2012 3:22 am)

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NC in the US of America
Russellian wrote:
SketchMan3 wrote:

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.

Well, I'm just barely keeping up, but I'm missing all of the chord names you're throwing out. It is pretty hard if you never learned the terminology. I learned about half of what you guys are talking about in the 10 years (fuck 10 years?) I've been playing sax/band, but the rest is just flying over my head. But hey, the more you know, right?

Yeah. When speaking of music in a theoretical way, I prefer numbers over actual chord names and stuff, especially without an instrument to get the hands-on feel for it.

That stuff is easier to under if you have a guitar or piano to actually play out the chords.

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Just use the Coltrane matrix

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Austin, Texas

whoa