The Music Studio

Basic Music Theory

Reply
Page 1 of 2
  Tools
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
Basic Music Theory
So, having seen the "mixing in key" thread. i thought that maybe i should supply some chord theory (has this been done before?) for composition/production/DJing

in a MAJOR scale (let's take C major for example) we have seven steps (notes)...

C D E F G A B

each of these notes can be harmonised into what are known as TRIADS by adding the third and fifth above them (that is, the notes 2 and 4 higher in the scale),
eg. C is harmonised with E and G to create the C major chord, D is harmonised with F and A create a Dminor

In the Major scale it is handy to remember that the chords that are subsequently built are:
Major, Minor, Minor, Major, Major, Minor, Diminished

In pop music the I, IV and V chords (in this case, Cmaj, Fmaj and Gmaj) are the most common, then followed by the vi, ii and iii (Amin, Dmin and Emin) and then finally the vii chord (Bdim)

You are also able to expand upon these chords by adding other notes other than the 1st, 3rd and 5th of the chord - the most common being the 7th.
eg. A Cmaj is expanded to Cmaj7 by adding the B to the C-E-G base - there is one semitone between the B and C (a B# is the same as C) and therefore this is a major 7th chord.
A Dmin would be expanded to a Dmin7 by adding a C to the D-F-A. There is a whole tone between the C and D (that is, two semitones) and this creates the sound of dominant or minor 7th chords.

In the context of DJing, one could therefore have a track that has a C pedal (lets say a bassline repeating C). you could mix in a track with an Emin, therefore creating a Cmaj7 by having the sounds combined.

Other chord permutations exist, a common one being the suspended chord, this creates a feeling of suspense (duh, thus the name) - the most common of which is the sus4 - . That is, as well as having the 1,3,5 of the chord, you have the 4 as well.
eg. with a Cmaj chord we now have C-E-F-G. The problem with having ALL these notes together is that they are very close to one another and therefore sound like they clash a little. To avoid this clashing, other notes in the chord can be removed.

Sometimes chords are implied, and particularly in music such as jazz "guide tones" are used. That is, the 3rd and 7th of the chord are played - implying the harmony of the chord, without having to use the 1st and 5th. One could therefore playing a suspended chord with just the 4th and 7th (in the Cmaj example this is therefore F and B)




Anyways i'm off to bed. If you guys are interested in this shit - i'll continue typing in the coming days/weeks/months - if i'm just repeating shit you know... well let me know that too - i just figure that 12 years (almost) of music tuition shouldn't go to waste when a lot of people seem to want to know more...
nicnac +

ITM Contributor

nicnac's Avatar
Joined
Oct '01
Times thanked
<
Thanks: 0
Thanked 1 Time in 1 Post
Posts
1,881
Awesome dude .. I got taught all this stuff when I was wee tucker learning piano .. but bugger me backwards if I haven't forgotten it all!!

I for one would appreciate the refresher and its easier to have you spoon feed me!

hehee
GIGS:
Fri 30 - Mioh
Sun 01 - Hotel W
Sun 01 - Sastango Finale
Thu 05 - Fresh Vibes, Mioh
Fri 06 - City Hall
Sat 07 - Samsara
Sun 08 - Hotel W
Sun 08 - TT Beach Fest.
Mon 09 - Ice Bar
Sat 14 - TT Park Fest.
Sun 15 - W
Sat 21 - Guru
Tue 24 - Eclipse
Sat 4 - Manchester UK
N4TE +

I play rough now - don't like it? Don't play.

N4TE's Avatar
Joined
Mar '02
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
11,897

^^^ Seal of approval for this thread. Please, continue to add to it. Scales, excersises, links to other resources would be good additions.
“Care more than others think is wise,
risk more than others think is safe, dream more than others think is practical
and expect more than others think is possible."
electroanarchy +

Registered User

Joined
Oct '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
110
Thanks very much for this mate.

I am not classically trained, so this is very helpful.
strAta

My latest mix:

http://djstrata.beatsleuths.com/
BOKSOFROX +

hey you

BOKSOFROX's Avatar
Joined
Apr '04
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
5,612
Thought I'd chuck in a little extra information... i'm kinda too lazy to type out what i know so i'll just wiki chord stuff.

Chords, an overview

Down the very bottom is a bunch of links to the types of chords (triads, sevenths etc.)
8==D8==Dchicks
Neo_ +

Monkey

Neo_'s Avatar
Joined
May '03
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
3,600
Bring it on, all this shit explained in laymans terms makes baby jesus smile.
Jay Parker.

Quote:

Originally Posted by risk

jesus christ, when was the last time any of you came to newcastle?

it's not fucking deliverance

NEONSPACE
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
OK - i'll give episode 2 a shot - AN EXPLANATION OF THE CYCLE OF 5THS... (and now i'll definetely be repeating stuff that is in that Wiki, but hopefully it'll be easier to understand, or something. At the very least it'll be HERE)


This image is the Cycle of 5ths/4ths

The Way that this circle works is that if you start from one of the keys, the key to it's left is a 5th up from it and the one to it's right is a 4th down. Using the cycle of 5ths we can easily change keys (modulate in the old school) - modulations will be smoothest going to the a key one left or right of the current one.

Again, using the C major example, we can move to to the relative minor (A min - in this image moving from 8B to 8A), the major up a 5th (G maj) or the 4th down (F maj), or their relative minors.
When you go to the left in this cycle (down a 4th), you add a b (flat) to the key signature, and when you go to the right, you add a # (sharp).

The order of sharps to be added when going up the cycle of 5ths is C, F, G, D, A, E, B.
The order of flats to be added when going down the cycle of 4ths is B, E, A, D, G, F, C (note this is the same order as the sharps, only reversed). What this means is that only 3 chords ( differ between a key one up or down from it in the cycle of 5ths - thus the ease of movement when mixing or composing.

When going up a 5th in the cycle, the 3rd, 5th and 7th chords are affected by the new sharp (write out these chords in their triads to see it on paper).
When going down the 4th in the cycle, the 2nd, 4th and 7th chords are effected by the new flat (again, if you write out their note-breakdown it'll make more sense).
Eg. This means that when moving from the tonality of C major to G major, the Cmaj, Emin, Gmaj and Amin chords are common.
When going from Cmaj to Fmaj, the Cmaj, Dmin, Fmaj and Amin are common between them.

SOMETHING TO NOTE: Due to 7th chords (as explained in the last episode) essentially being a tonic with the chord a 3rd up superimposed on top these will all be incompatible when changing keys like this.
Eg. In the C major tonality, the I chord is Cmaj7, but it's place in Gmajor makes it a C7 (C, dominant 7), as does its placement in the F major tonality.
Again if you've written out the breakdowns of the chord scales into triads (or better still, 7ths) this will be more obvious.

If you don't know, what I mean by the chord breakdown is writing out the chords like and this:
C-E-G-B (Cmaj7)
D-F-A-C (Dmin7)
E-G-B-D (Emin7)
F-A-C-E (Fdom7)
G-B-D-F (Gmaj7)
A-C-E-G (Amin7)
B-D-F-A (BhalfDim)

for G major it would be:
G-B-D-F# (Gmaj7)
A-C-E-G (Amin7)
etc


I think that's enough for now (and obviously getting less and less basic). Next episode/lesson will explain the minor scales (or at least one or two of them) unless you guys would prefer other things. Feel welcome to comment/correct/augment this info and ask questions on it

see ya next time
-j
djtoastytraxx +

On the board walk......

djtoastytraxx's Avatar
Joined
Oct '05
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
1,043
Cheers for all the info on key mixing, this would be about the stage iam up to with mixing music, can mix tracks in great together but this is definetly the next step.


.....Even the best way to determine the key of a track, whether it be comparing the track with the chords on a keyboard/piano or using one of those mix in key programs?


Keep the stuff on key mixing coming!
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613

Quote:

Originally Posted by djtoastytraxx

.....Even the best way to determine the key of a track, whether it be comparing the track with the chords on a keyboard/piano or using one of those mix in key programs?

maybe best to keep this to the mixing in key thread... particularly as i don't actually DJ... To me, well, i'd just use a keyboard/guitar/other pitch reference and work out the notes that the bassline is playing - this will have the tonic 99% of the time (often the MOST REPEATED NOTE). You will probably be able to hear whether it is major or minor (will explain the minor sound in the next ep).

I would personally do this process because it will help you delevop your aural skills such as identifying common chord progressions etc.

If the mixedinkey software works, and you are prepared to spend the $$, of course you can use it and i assume it is particularly useful if you have 1000s of tracks.
jarnos +

doosh doosh

jarnos's Avatar
Joined
Sep '05
Times thanked
<
Thanks: 3
Thanked 6 Times in 3 Posts
Posts
549
Thanks for teh info dude.

But imho key mixing can be a tad boring as choons seem to flow in and out of each other a little 'too' well and lose their oomf. Maybe with prog it sounds cool but with modern techno and house it sounds crapola.

Feel free to purge me for my beleifs
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613

Quote:

Originally Posted by jarnos

Thanks for teh info dude.

But imho key mixing can be a tad boring as choons seem to flow in and out of each other a little 'too' well and lose their oomf. Maybe with prog it sounds cool but with modern techno and house it sounds crapola.

Feel free to purge me for my beleifs

like i said. i don't mix , so won't comment. i'd prefer to hear it mixed in more often - but i'd also be a three turntable DJ if i was one (or using live or instruments or something), so in key mixing would more be used for layering.

Once again, maybe keep this strictly to composition/music theory, rather than in-key mixing opinions, as there is already a thread about that
rhythmboy +

"I am the Beef Chief..."

rhythmboy's Avatar
Joined
May '02
Times thanked
<
Thanks: 0
Thanked 2 Times in 2 Posts
Posts
843
Excellent work dude, well presented and a whole lot less boring than the Dulcie Holland books!

Might encourage some people to stop beatmixing trax a semitone apart - the one thing that makes me cringe more than any other

(Oh yeah that requires aural training )

ps you are my post #200 - woohoo! Not bad in 5 years...
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613

Quote:

Originally Posted by rhythmboy

Might encourage some people to stop beatmixing trax a semitone apart - the one thing that makes me cringe more than any other

I was going to get to this , but wasnt intending to for a couple of episodes... but here it is now...

If you are playing a piece in the key of C major you are running with no sharps or flats, and as mentioned, the closest keys are A minor, G major, F major, E minor or D minor (One movement in the cycle of 5ths, or staying in the same square).

By playing in a key one semitone apart you are actually making the LARGEST shift possible.
If you move from C major to C# major you have gone from NO sharps to ALL 7 sharps - this sounds horrible 99% of the time.
Going to B major from C mjaor is not quite as extreme (5 sharps), but will also sound pretty bad.

This is a rule to be that can be used in composition or mixing.
I will probably return to this later in the piece
Rodeoclash +

Registered User

Joined
Jan '05
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
132
Here's how I go about planning a track...

Pick a key, usually A because it's fairly easy (no sharps) and electronic music doesn't really have a range, unless maybe you're using a singer.

Construct some chord sequences, chords that share the same notes between them usually transition better. Add some variations on them, the spice as it were. These are 7th's, susses, add bassline, drums everything else. Too easy!

My problem is that I can write decent melodies, songs pretty easily but it all comes out sounding thin and like midi, I think I need to improve my programming side a bit more..
Mononic +

Registered User

Joined
Jan '07
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
651
I've grown so addicted to slipping in and out of parallel keys. I call it the lazy man's key change because you don't really have to change hand positions.
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613

Quote:

Originally Posted by Mononic

I've grown so addicted to slipping in and out of parallel keys. I call it the lazy man's key change because you don't really have to change hand positions.

you shouldn't need to change hand positions - that's where INVERSIONS come in handy... but i'll explain them another time, as i must sleep now so that i can learn more tomorrow at my guitar lesson!

NB: inversions may be less useful/popular in modern dance music, but are very useful to learn about for general composition and keyboard playing
Mononic +

Registered User

Joined
Jan '07
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
651

Quote:

Originally Posted by ferretrock

you shouldn't need to change hand positions - that's where INVERSIONS come in handy... but i'll explain them another time, as i must sleep now so that i can learn more tomorrow at my guitar lesson!

Thats not really a reason for not changing hand positions because 1st, 2nd and 3rd inversions sound different to each other. That wasn't really what I was referring to anyway, I was implying more that you don't have to move hand positions because parallel key changes keep the same root note.
toons +

diga diga

toons's Avatar
Joined
Jul '02
Times thanked
<
Thanks: 1
Thanked 0 Times in 0 Posts
Posts
799
www.musictheory.net/
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
Episode 3: Minor Scales/Tonalities and Their Uses

Minor scales generally create a darker sound, whereas major scales create brighter, happier sounds, and thus each will have it's use, and hopefully minor sclaes/tonalities can creep into your music to help you distinguish yourself a little from the pack.


Alright, so... in the past i've only really referred to major scales or tonalities and the chords that go with them, but for every major key their is a relative minor. The root note of the scale can be found by going 3 semitones down from the relative major.
eg. C major's relative minor is A minor - meaning that it shares the same key signature

There are 3 minor scales:
The Natural Minor
The Harmonic Minor and
The Melodic/Jazz Minor

The Natural Minor is the easiest to approach in that it is essentially a major scale, starting on from the 6th note of the scale.

In A minor this would read: A-B-C-D-E-F-G
The thing that distinguishes this from the C major scale is the emphasis put on the new tonic and the chords that are most commonly used.
If you like you can play a regular chord progression (eg. a I IV V, or I vi ii V) and listen to the difference using a major and a minor scale.

The Harmonic Minor has a more distinct sound and will come across to people as sounding middle eastern much of the time. This is caused by having a raised (sharpened) 7th.
eg. In A minor tonality this would read A-B-C-D-E-F-G#
And thus the triads built from the scale are: Minor, Diminished, Augmented, Minor, Major, Major, Diminished.
Once again you can try playing a regular chord progression and listen to the difference caused by having the raised 7th.

Due to the raised 7th in the scale, our 7th chords will now different.
The I chord in the chord scale has a Minor chord on the bottom (the i, III, V) and a Major chord on top (the III, V, vii), and is thus refferd to as a minor-major7th chord.

The III chord has an augmented chord on the bottom (III, V, vii) and a major chord on top (V, vii, ii) and is thus called an augmented-major7th, but is usually just referred to as an augmented7th.
All the other chords remain unaffected and are run of the mill dominant or major 7ths - you can look at the chord breakdowns to work out which flavour (or sequence/play them and hear them. Even better!)


The third minor, the Melodic Minor is most commonly used in jazz and sounds like a mix between a major and a minor scale - this is caused by a raised 7th (as in the harmonic minor) as well as an additional raised 6th - the tone-semitone ending is the same as a major scale and thus the likeness.
In the A Minor Tonality this reads as A-B-C-D-E-F#-G#, and the order of triads built are Minor, Minor, Augmented, Major, Major, Minor, Diminished.

Honestly - being quite new to electronic music, i've no idea how common these scales are in it.

Sorry if this shit's getting a bit heavy, i'd love it to be less so, but well... it's not
Spectrum +

What?! No Crossfader!

Spectrum's Avatar
Joined
May '01
Times thanked
<
Thanks: 2
Thanked 147 Times in 96 Posts
Posts
9,193
Yeah, it's always gonna be pretty heavy, especially for someone with zero theory experience, however, there's definitely value for those with a basic background and/or wishing to get a little deeper.

It's certainly been a terrific refresher for myself, getting me to think of alternative scales (love the middle-eastern tip) away from my norm.

Nice work.
plan-b +

I found the Treasure of Mêlée Island and all I got was this stupid user title

plan-b's Avatar
Joined
Dec '03
Times thanked
<
Thanks: 497
Thanked 646 Times in 433 Posts
Posts
19,319
great thread idea... I studied music as a young tucker as well (Trumpet and French horn mainly) and this is a great refresher...

www.musictheory.net is a wealth of information as well

Quote:

Originally Posted by Gruso View Post

Just to clarify where the line is drawn:

  • Ragging on someone when they're actively posting and pretty much asking for it: OK
  • Starting a new joke train on them when they're not around: Please don't

Lukey +

Puke

Lukey's Avatar
Joined
Oct '01
Times thanked
<
Thanks: 0
Thanked 5 Times in 4 Posts
Posts
3,560
no i dont think its really that heavy. a few years back i went through a lot of websites looking for all this info and it was a lot more intense than this. this is a good refresher ferretrock. good stuff.
something
Mononic +

Registered User

Joined
Jan '07
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
651

Quote:

Originally Posted by Lukey

no i dont think its really that heavy. a few years back i went through a lot of websites looking for all this info and it was a lot more intense than this. this is a good refresher ferretrock. good stuff.

Yeah, its pretty basic stuff in the grand scheme of things. But its certianly enough to write good music with.
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
after many months of laziness i thought i'd do another installment.. particularly with all the recent threads about people wanting to learn music theory...

INVERSIONS

So this is where playing keys (or any other chord-based instrument) gets to be fun!
What we essentially do is rearrange the notes of a chord, in order to make them easier to play (what is called position playing on guitar).

Let's take a basic chord progression, such as the I-IV-V... in the case of the C major scale, the Cmaj, Fmaj, Gmaj - you'll hear this progression bandied around everywhere - particularly in 60s-70s pop and garage rock, as well as, i suppose, some dance music...

If we were to play this normally it'd be C-E-G, F-A-C, G-B-D (all of which are 1st inversion voicings), but you'll find your hand crawling up the keyboard to reach each chord.

What we can alternatively do is rearrange those notes like so:
C-E-G [1st inv], C-F-A [3rd inv], B-D-G [2nd inv] ...

Same chords, different voicings!
We could also play the G major in 3rd inversion (D-G-B).. all in all, it reduces movement and thus increases efficiency.

If you haven't worked it out by now, we call it a 1st inversion if you use the 1st of the chord as the root, the 3rd of the chord (as the root) is the 2nd inversion, and the 5th of the chord is the 3rd inversion.

The point of inversions isn't simply to increase efficiency though. It quite obviously changes the timbre of the chord. Also, if you add on the 7th of the chord you can create what is called the 4th inversion (using the 7th as the root), and as with before you can drop notes at your own will (eg. for a Cmaj7 in 4th inversion, you may play B, E, G).

That's all for now.. if you guys wanna know anything specific, or want me to shut up, just say soo.
siavash82 +

Registered User

Joined
Oct '04
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
249
exactly what i was looking for : cheers dude!
Joe-Trojan +

distorted distortion

Joe-Trojan's Avatar
Joined
Jun '09
Times thanked
<
Thanks: 50
Thanked 69 Times in 54 Posts
Posts
1,528
fkn gold!
ChemicalJames +

GREEN EGGS AND HAm

ChemicalJames's Avatar
Joined
Feb '05
Times thanked
<
Thanks: 433
Thanked 418 Times in 201 Posts
Posts
7,408
I'm pleased this thread got bumped as i missed it the first time!

Thanks ferret for the effort you've put it. I've learned things i've been meaning to teach myself for the last year or so.

10 points.
fffffffff
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
ghey - cycle of fifths image is gone now.


Here's a replacement. Also - the mixedinkey image is a cycle of fifths.
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613

Quote:

Originally Posted by ferretrock

like i said. i don't mix , so won't comment. i'd prefer to hear it mixed in more often - but i'd also be a three turntable DJ if i was one (or using live or instruments or something), so in key mixing would more be used for layering.

Once again, maybe keep this strictly to composition/music theory, rather than in-key mixing opinions, as there is already a thread about that

jeeez.. the irony. I do DJ now, and I don't bother keying anything.
johnjay +

Registered User

Joined
Aug '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
2,915
nice bump

thanks
http://jayjsmooth.blogspot.com/
www.soundcloud.com/jayjsmooth
scradeley +

-

scradeley's Avatar
Joined
Oct '07
Times thanked
<
Thanks: 20
Thanked 52 Times in 28 Posts
Posts
426
This is a great thread. Props to Ferretrock for such a thorough grounding.

Hopefully I can help push this thread a little further...

Assuming you've read to here, Ferretrock has covered most of the basics (and then some). Also a few holes in there like Modes but that is probably best left uncovered for the time being.

Next on the list then would be some Structural Elements of Music.

Lets Start with Cadences....

Any musical idea or phrase ends with musical punctuation or a cadence.

Some cadences are extremely significant like at the end of a complete section (you can think of this like a full stop at the end of a sentence . )

Some can be less final, like finishing an idea but suggesting more to come (you can think of this like a comma , or semicolon ; in a sentence)

There are different types of Harmonic cadences:

A Perfect Authentic Cadence is the change in harmony from chord V to I in the major tonality, and chord V to i in the minor tonality.
e.g. In the key of C, this would be from G to C, or G to C min.

This cadence is the most final sounding. Play it on a piano and you will hear. (Ear training is important!)


********************************* Advanced **************************************************

An Imperfect Authentic Cadence is not as strong as a perfect cadence. A cadence becomes imperfect when

A. The highest sounding note in the tonic chord is no longer the tonic itself.
e.g. In the key of C major, G to C maj9 has a D on top. This would be an imperfect authentic cadence.


B. Instead of changing from V to I, the change is from vii dim6 to I.
e.g. In the key of C major, this would be B dim6 (B-D-F-G) to C major. This would be an imperfect authentic cadence.


C. Either or both the chords are inverted (if the 3rd or 5th is on the bottom of either chord).
e.g. In the key of C major, changing from G to C/E would be an imperfect authentic cadence).

********************************* Advanced **************************************************


A Half Cadence is the change from any chord to chord V. Common half cadences are I to V, IV to V or ii to V.
e.g. In the key of C major this would be C to G, F to G or D min to G.


A Plagal Cadence is the change in harmony from chord IV to I in the major tonality, and chord iv to i in the minor tonality.
e.g. In the key of C major, this would be from F to C.

Much more uncommon, ii6 to I is also a plagal cadence.
e.g. In the key of C major, this would be D min6 (D-F-A-B) to C.


An Interrupted or Deceptive Cadence is the change in harmony from chord V to anything other than chord I in the major tonality, or chord i in the minor tonality. V to vi is a common interrupted cadence.
e.g. In the key of C major, this would be G to A min.


It should also be noted that there is such a thing as Rhythmic Cadence.

An example of a rhythmic cadence can be found in the first 2 phrases of twinkle twinkle little star.

Rhythmic cadences are formed on the word "Star" and then "Are". (The notes on those words are longer then then ones that come before it).

As I said earlier, you can think of cadences as the punctuation in musical sentences or phrases and each of them has a distinctly different feeling. Play them on a piano and you will hear

Cadences form the basic building blocks of things like harmonic progression (which is definitely to be left for another night!)

I hope that pushes things a little further for some of you or at least clears some things up.
- It's all about the Music

Last edited by scradeley: 27-Jul-09 at 04:19pm

Joe-Trojan +

distorted distortion

Joe-Trojan's Avatar
Joined
Jun '09
Times thanked
<
Thanks: 50
Thanked 69 Times in 54 Posts
Posts
1,528
^^ thanks!!


Quote:

Originally Posted by ferretrock

jeeez.. the irony. I do DJ now, and I don't bother keying anything.

lol

thanks for the info in this thread, it's a real gem.


Quote:

Originally Posted by TOONS

www.musictheory.net/


very handy!
CheelWinston +

not a cop

CheelWinston's Avatar
Joined
May '01
Times thanked
<
Thanks: 912
Thanked 2,128 Times in 1,172 Posts
Posts
13,908
helpful thread is helpful
Listen to your friend Cheely Zane
He is a cool guy...
Juzzzy +

Registered User

Joined
Apr '09
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
405

Quote:

Originally Posted by rhythmboy

Excellent work dude, well presented and a whole lot less boring than the Dulcie Holland books!

gold. those books were the death of me, this is a cool thread, i studied all the way through to 6th grade theory and amusA and dropped it due to the boredom of classical training, good to see someone giving ppl a hand
Jude May +

ohhh yes, me please!

Jude May's Avatar
Joined
Apr '03
Times thanked
<
Thanks: 1,265
Thanked 301 Times in 97 Posts
Posts
8,882
now this is the kinda shit that will let me actually use chords other than Cminor
My SoundCloud
No trees were killed in the sending of this message. However a large number of electrons were terribly inconvenienced.
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
^I did this two years ago, Jude. Where were you?
pat_insilico +

tronik tweaker

pat_insilico's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 0
Thanked 1 Time in 1 Post
Posts
356
theory... blargh


http://www.mucoder.net/tonespace/



http://www.chordspace.com/ChordSpaceindex.htm
For trade: my NORD LEAD 3 for your Nord Rack 3

inSilico online:
Soundcloud
Facebook
johnjay +

Registered User

Joined
Aug '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
2,915
Just wondering,

with musictheory .net when you do the note trainer you have to use your mouse. I always look at my midi keyboard on my desk while doing it. How great would it be if when you have to pick the note you can use your midi keyboard to select the right one. I rekon if it worked like this I would be able to learn a lot quicker.

Is there a program that offers somethign like this? That is how I learnt how to touch type. Maybe I should try to contact the website and see if they can provide this. Or would it be to hard to develop? As its usb and goes into the computer it should doable or can it already be done?
http://jayjsmooth.blogspot.com/
www.soundcloud.com/jayjsmooth

Last edited by johnjay: 28-Jul-09 at 03:23pm

Marky +

ITM Contributor

Marky's Avatar
Joined
Jun '01
Times thanked
<
Thanks: 3
Thanked 0 Times in 0 Posts
Posts
2,430
Cool!!!!!
hit me up on the cloud: http://soundcloud.com/marcus-murky
benkanemill +

Bitch

benkanemill's Avatar
Joined
Nov '06
Times thanked
<
Thanks: 4
Thanked 33 Times in 24 Posts
Posts
1,426
This should be sticky'd
Soundcloud
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
^It sort of is (it's linked to in the sticky).
benkanemill +

Bitch

benkanemill's Avatar
Joined
Nov '06
Times thanked
<
Thanks: 4
Thanked 33 Times in 24 Posts
Posts
1,426
ahh I see
Soundcloud
3dfan +

Registered User

Joined
Aug '09
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
4
ferretrock thank you for such an interesting and useful explanation! helped me a lot!
Like to use fantasy 3d desktop wallpaper!
Tank F +

Registered User

Joined
Sep '07
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
783
Thanks a plenty scradeley and ferretrock
Marc Us +

House & Funk DJ

Marc Us's Avatar
Joined
Feb '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
1,726
making my way through ths, can someone explain episode 2 circle of 5th in a even more simple terms, still confused & not entirely get it

wiki explanation is even more complex with big words & google didnt come up with much simple explanations
Tikki Tembo
www.tikkitembomusic.com
social media: #tikkitembomusic
Marc Us +

House & Funk DJ

Marc Us's Avatar
Joined
Feb '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
1,726
making my way through ths, can someone explain episode 2 circle of 5th in a even more simple terms, still confused & not entirely get it

wiki explanation is even more complex with big words & google didnt come up with much simple explanations
Tikki Tembo
www.tikkitembomusic.com
social media: #tikkitembomusic
Comma +

Registered User

Comma's Avatar
Joined
Sep '08
Times thanked
<
Thanks: 0
Thanked 1 Time in 1 Post
Posts
1,067
Each Perfect Fifth you go up (7 Notes on a Keyboard - C to G) Add one Sharp to the Key Signature.

Thus the Circle of Fifths goes

C-G-D-A-E-B-F#-C# with 0-1-2-3-4-5-6-7 sharps respectively


---

If ANYONE has ANY Music Theory Questions, Send Me a PM! I'm more than happy to help, I've been studying the stuff for 17 years now.
Keyboardist for Mercurial
Acoustic Consultant
Give our second album Inertia Tides a spin here
And if you like it order our second album from JB Hi-Fi
Tank F +

Registered User

Joined
Sep '07
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
783
^no, don't send him a pm, post it in here so I can read the answer too.
Soundcloud
Marc Us +

House & Funk DJ

Marc Us's Avatar
Joined
Feb '06
Times thanked
<
Thanks: 0
Thanked 0 Times in 0 Posts
Posts
1,726
i have referred back to this thread so many times over the last 2 weeks as i teach myself music theory i understand just that lil bit more everytime i re-read it, so thanks again.

re: circle of 5ths & sharps...

if im working in F natural minor scale, the circle tells me there are 3 sharps in that scale (G#, C#, F#). if F has a sharp then doesnt it become a F# minor scale... pretty sure im just missing something simple, sorry in advance
Tikki Tembo
www.tikkitembomusic.com
social media: #tikkitembomusic
ferretrock +

speaker whore

ferretrock's Avatar
Joined
Mar '06
Times thanked
<
Thanks: 20
Thanked 9 Times in 9 Posts
Posts
9,613
Yeah - F minor can't have three sharps, what it can have is four flats. The mistake you've made is referring to it as the circle of fifths and sharps. It refers to keys and key signatures - both with sharps and flats.

A minor scale is relative to the major scale three semitones higher (Ab Major). The circle of fifths shown earlier in the thread refers to the Major scales in the key signatures that it shows (Ab major shows four flats).

The order of flats is: B, E, A, D, G, C, F.
So F minor will be F G Ab Bb C Db Eb.
Page 1 of 2
Reply

« Previous Thread Next Thread »

Posting Rules

+
    • You may not post new threads
    • You may not post replies
    • You may not post attachments
    • You may not edit your posts