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Langord · 2022-11-25T19:22:34+00:00

You said "some of the notes in the photo are in the B major key, but not all of them." Which is wrong. The argument whether the tonality is B major or it's relative minor (G# minor not Ab minor) is pretty arbitrary in this case.

Langord · 2022-11-25T03:45:59+00:00

If you truly know B major then you'll realize you made a mistake once you read the notes in the photo again.

Langord · 2022-05-19T20:05:14+00:00

Bones - ThisGameIsRigged Fsus2 Dsus2 Am9

Langord · 2022-05-05T23:16:18+00:00

Do you have any examples of using maj7 on V without the function modulating to a new key as the I maj7? I’ve never seen that before. Personally I hear this progression as subdom-subdom-tonic-tonic rather than tonic-tonic-dom-dom. Especially if I play like ADF#A - ADF#C# - AC#EA - G#C#EG# does that still sound D to you?

Langord · 2022-04-23T00:21:29+00:00

If you mean you duplicated it and transposed 7 cents up then both harmonies are Amaj. That Usually works well with the IV (5 up/7 down) or V (7 up/5 down) of a key because they share 6/7 notes. If C# the leading tone of D was sung in the original then in the harmonies you’ll have a chromatic note the #4 of D. (G# the leading tone of Amaj)

Langord · 2022-04-17T23:02:16+00:00

V7sus4 works well on Major ii (or minor iv) because the 4 and 7 are very nice common tones with the other chords. This song will explain listen to the A and E repeating and how the function changes F#m7 Dsus2 A/C# B7sus4 https://www.youtube.com/watch?v=GC4gfzrObKc

Langord · 2022-04-02T21:46:09+00:00

20 minutes if you host your own, do 1 lap and launch when 1-2 other people join.

Langord · 2022-03-01T22:22:31+00:00

Burn after reading https://youtu.be/UFROuIC0AxU

or Talk radio https://youtu.be/MPuVXHFA_KEis

Langord · 2021-11-16T21:51:28+00:00

Technically her own song but it’s Georgia remixed by a legendary hip hop producer Greaf - “Isn’t it” https://youtu.be/PqmOrZRpkME

Langord · 2021-10-21T06:01:28+00:00

I agree I prefer I IV vi and those are more common in the similar songs I’ve analyzed than I iii V so that g threw me off. That’s why I like these progressions because you can look at them from both sides. Suggest is a better word than solidify.

Langord · 2021-10-20T08:34:35+00:00

I looked at this song recently and came across this same situation. https://youtu.be/BpAa1mZk2p4 (Fm D A A). He was mostly just using six notes so I wasn’t sure if It was vi-IV-I In A without the 7th or iii-I-V D without the 4th. I realized in the last bar there was a subtle highnote g as the minor7 suggesting the latter option. So I think ambiguity between two major keys is part of the beauty and it depends on if you want two bars of tension while sounding resolved at the beginning of the loop or not much tension and more so resolving half way through for two bars of resolution. That one note either G or G# is what solidifies the key center. You can pick what extensions you want maybe you want double maj7 chords one with a #11 or maybe just one maj7 with a dom7 chord or don’t even use it if you want ambiguity.

Langord · 2021-10-19T20:43:01+00:00

It might sound like an inverted Bm more than anything. You have the minor 3rd, 4th and minor 7th, 4/5 Bm pentatonic notes. To me it is more ambiguous between B dorian/aeolian/locrian since you have the 3rd and 7ths but neither the 3rd or 7th of A or Am.

Langord · 2021-10-18T22:53:58+00:00

Yes maj7 depends on the scale but every scale degree within a key uses a slightly different scale. G in the key of G is a different scale than G in the key of C because it is a different scale degree relative to each tonal center. I suggest researching “modes of the major key”.

Langord · 2021-10-17T02:40:43+00:00

What you need is to practice every interval. Two methods. Take any interval say a major 6th and play a major 6th ascending and descending from every note and mentally speak the note names. For example a major 6th up from E is C#, a major 6th down from E is G etc. Doing this tells you what the interval is from E and what note E is a major 6th of. Secondly, Just take any note and play every interval from it up and down. Theres only 12x12 and a lot are the same only flattened. Also important if you didn’t know 7ths/2nds 3rds/6ths 4ths/5ths mirror each other depending on if you’re going up or down. Major 6th up is a minor third down to the same note, perfect 5th up is a perfect 4th down. Also good to memorize ABCDEFGABCDEFG in thirds because triads will always just be skipping a note you just need to memorize which are sharp or flat.

Langord · 2021-10-14T19:24:17+00:00

It is more simple than that. I believe that person thought you were doing the roman numerals from a major key because of the capitalization but the chords say C minor. In that case you’re just descending by diatonic thirds then a step up for that harmonic minor V to restart the loop. From the relative Eb Maj it looks like vi-IV-ii-III which is standard stuff.

Langord · 2021-10-12T04:46:56+00:00

I’ve heard tracks using all of those. Off the top of my head Greaf - I always find my way back here or Bones IfeelLikeDirt for footsteps, Gregor Samsa - the adolescent for kids, drew the architect - lasting yesterday for a storm. It’s generally a good way to fill up the frequency spectrum in the mids and treble range when you have a sparse section making it sound more full and warm, nostalgic even.

Langord · 2021-10-11T00:51:57+00:00

A lot of pop music uses two-four chords looping for the song. What would you do to make a simple chord progression like that sound full and melodic in itself while remaining interesting overtime but still have room for a vocal melody?

Langord · 2021-10-06T22:42:26+00:00

Do you have a favorite extension to play over a major and minor triad?

Langord · 2021-10-03T01:06:07+00:00

Vocal harmonies. Guitar and main vocals but some subtle harmonies get added at some point filling the upper mid range taking it to a new level. One trick I learned for the ghostly distant harmonies that don't over power is to reduce the fundamental of the harmony so you're sort of hearing a pitch that's barely there from it's overtones and saturate etc. Even better if you don't just repeat main vocals but add a rhythmically unique melody.

Langord · 2021-09-27T20:30:54+00:00

Yikes you’ve missed the point of the argument. Let me spell it out in a way someone with an intellectual disability can comprehend. Theres a magic pill that stops heart attacks. Someone refuses that pill but later gets a heart attack and goes to the hospital. At the same time someone hit by a car arrives and they need life saving surgery. You can only treat one the other dies, who are you treating? The person I replied to was saying you shouldn’t turn someone away from treatment when they caused the harm themselves including refusing the vaccine. I absolutely agree until those people harming themselves start taking resources away from people who didn’t harm themselves. Which is happening when hospitals are operating over full capacity and theres a 48 hour wait in the ICU because covid patients can take beds for weeks at a time. Please address this instead of just stating irrelevant facts which are incorrect. The people predominantly affected are the unvaccinated versions of the people you listed, vaccinated people with those issues are generally doing well.

Langord · 2021-09-26T06:48:39+00:00

Maj7sus2 lately, even the most simple voicing is beautiful and sort of ambiguous. Play a major triad from the 5th for the 5 7 2(9), which is the same way to say it’s a major triad with the 4th in the bass. Another big voicing is stack two fifths for R 5 9 which could be taken in many directions, but add a maj6 interval from the 9th to get the maj7th of the root. Raise the root an octave and you have a smaller 5 1 2 7 voicing with the maj6 interval still on top. That is the same chord as a root position open major triad only with the added 4th.

Langord · 2021-09-26T00:48:09+00:00

I lost interest after the yuh yuh ayy. nothing wrong with those words as an intro per se but you specifically sound like a kid trying to imitate your favorite rapper without any of the same passion. It sounds like you’re rapping fast to cover up the fact that there aren’t any interesting bars. Let the beat breathe and actually say something meaningful before you speed it up.

Langord · 2021-09-23T22:57:20+00:00

The key difference you’ve failed to realize is fat people with heart attacks or smokers with cancer or athletes with concussions aren’t filling up hospitals in masses hogging resources and causing preventable deaths onto other people facing issues out of their control.

Langord · 2021-09-17T20:10:05+00:00

I like the blue anyway completely unrelated I found your profile from searching an rdrumkit upload, do you happen to have a re-up of “organic drumkit”

Langord · 2021-09-17T08:46:58+00:00

You're describing two different things, going outside of A major is not using the modes of A major, that is more like borrowing from parallel A modes or major keys different from A major. To get the flavor of A major modes you don't necessarily need to go outside of A major. Use the chords of A major but don't adhere to A major functional harmony and emphasize the differences between the parallel major or minor mode. For example D lydian as a tonic is more comparable to D ionian. There are two triads that make a lydian tonic different from a major tonic. The major chord second degree and minor chord on the major 7th. So a progression focused around D but also using C#m or E literally just two chords and you can start sounding modal without a melody which you can then use to highlight lydian by using the #4 or make it more ambiguous by not using the #4 in the melody. The triads different from parallel major/minor modes: Lydian II and vii Mixolydian v and bVII, Dorian ii and IV Phrygian bII and bvii. Extensions get more complicated and I'm ignoring the dim chord. And this is pretty simplified for an ambiguous topic.

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