5/18/2023 0 Comments I hear them all chordsThe first minute of Featherstone by Paper Kites is a great example. Within that, as an artist you can do anything you want. Rhythm is the cue that something is music, until it's rhythmic our brains don't even register it as music. if you remove the rhythm from the national anthem no one stands up because they didn't understand there were more notes coming or when it ended or started or what the heck was even going on. The only one that can stand on it's own in terms of making large audiences care is rhythm, i.e. (genre is EDM, from big room to future house to deephouse to progressive house(lol))Music is basically 3 things. I'm kinda stuck in this period where I'm endlessly making chord progressions, just because I think I will not have structure in the song if I don't have chord progressions. Period.Ĭan somebody please tell me why this is total bull****, and give me a few examples of great tracks that don't have any chord progressions in them at all? Somehow I've got this stuck in my head, that I HAVE to have chords in my tracks. Without chords or a chord progression it just sounds empty.I'm trying to analyze how other artists do this and still have a full track without having a chord progression and making it.well, too progressive. And now I don't how to fill the track up. Could also be.īut, I have made a melody just now. Maybe they just don't like progressive house/trance(which I do), and they are overanalyzing the music while the simplest answer for them is they just don't like the genre. Many times my friends will say it sounds too 'happy' or something(even if I pick a minor scale and choose all minor and diminished chords etc), and they mean it has to be more like the song you just posted. Because I choose a scale, I click in chords I to VII and just start messing around with them until I have a nice progression. Maybe because that's just the easiest for me. Many times I want to make this kind of big room house, but I have this way that I automatically want to add chords or something. Yes! This is exactly what I meant when I opened this topic. If you want to make EDM/bigroom house you pretty much have to use chord progressions.thats part of the genre.īut here is one song that is not really too much 's mainly a bassline and a melody.except for the breakdown part.whcih is why its EDM bigroom. Maybe yu should start making techno.if you dont want to use chord progressions.just make alot of cool percussion and a simple bassline.if you dont like chord progressions than focus on percussion or and keeping the rhythm I don't know if you consider this to be a good grasp on fundamentals.not to toot my own horn but I think it qualifies. I also know about the tonic, subdominant and dominant thing with the roman numerals, I to VII. (correction once again, sometimes the minor 3th is definitely not in the scale so how would I create a chord with a minor 3th? I don't, or change scale?) Just change the major 3th to a minor 3th.duh Which ironically solves my problem with major and minor third, I just found out We use the italian-derived terms, which I find less easy to remember). At least in my native language(in English it's much easier, minor second, major second, perfect 4th etc. Other than that, I'm aware of the intervals and I know them all by name. If I want a major 3th to become a minor 3th you drop it down by a half step correct? But what if the key that is a half-step down, is not in the scale? Only thing, sometimes the major and minor 3th thing is a little unclear to me. I also know how to build chords, 3ths, 5ths, 7ths, 9ths, 11ths etc. I know the formulae for minor and major scales, and know how to apply this. Knowing theory would probably solve this.Īnd I don't know what you consider a 'good grasp' and what you consider to be fundamentals. And I definitely hear a lot in my head, but sometimes I can't seem to find the note/chord(I have difficulty differentiating those sometimes) that I hear in my head. I'd not worry about what you're doing or supposed to do so much, and focus on coming up with stuff you think sounds good.Indeed. You still need to 'hear' it in your head. Music theory is useful and fulfilling to know, but when it comes to writing music you don't do it purely academically. Probably, I wouldn't bother with any of that stuff honestly, at least until you have a good grasp of theory fundamentals - like how to build chords, key signatures, etc.
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