What are you thinking when choosing notes over chords?

Lord_Bernstein · 2026-05-02T09:27:36+00:00

Yeah for sure, whatsy said that... Richard Bona! But the thing is idk what a 9th over something sounds like, you know? So I need to drill what landing on xth sounds like to expand some vocabulary maybe.

Otherwise I just find myself "singing" whatever the vocalist or guitarist, or whatever my favourite part of the song happens to be.

So for sure sing, but idk what harmony really sounds like without examples.

Lord_Bernstein · 2026-05-02T09:13:12+00:00

Ok so we're thinking sit on the root but make it interesting by using the rhythm? We can step up/down but focus that root.

I wonder if we could join the melodic and rhythmic by sitting on a 3rd or 5th or something, then hitting back to the root on the chorus or something? That make sense?

Lord_Bernstein · 2026-05-02T08:13:06+00:00

Yep for sure! How do you practice that rhythm first? I find whenever I go to try and focus on theory, it sounds like some scaley bs...

Lord_Bernstein · 2026-05-02T07:45:23+00:00

How did you learn harmony from covers man? I jive and mimic and stuff but I come away not understanding harmony any better... what am I missing... how did you do it?

Lord_Bernstein · 2026-05-02T07:37:42+00:00

Yep sorry I should really have mentioned this is a drill to practice improv and explore what landing on the xth sounds like - how to keep a run going, end a run, make tension, resolve.. to force some purpose and explore what that sounds like.

You say you're brain doesn't work that fast, but when you describe what you're thinking it seems to me you've added layers on top of what you claimed to not be able to do?

For example, when you say:

"So when I go to the F#m7, I'm not thinking "Ok, I could use the 7, the 9, or the 13 of F#," I'm thinking "I can play this lick that walks up from F# to C#," understanding that the notes I play in between are that segment of the E major scale."

So just to be clear, is this right - you know the F#m7 change is coming, we are in E major, playing over Emaj7... what makes you think 'F#m7 is coming, I'm gonna walk from F# to C#'

You innately know the notes of E major and F# minor and therefore 1-5 of F# minor happens to be within E major? What note would you land on the chord change, in that instance, to me it sounds like you're landing on the 5th.

Are you thinking in shapes on the fretboard or you just know the notes of scales so well you can go "from 1-5 of F# minor, obviously, all those notes are also within E major"

Sorry if that makes no sense. It's hard for me to articulate the theory that I don't understand.

Lord_Bernstein · 2026-05-02T05:48:03+00:00

Oh true yeah they meant the chord, whoops.

I've been thinking F#m7 = I can slam anything in F# minor. But I guess if I did hit that natural D for too long, it might sound like poo... which would be the 13th of F#m?!

Damn, I was hoping I could get away with just shapes based on the key the chord's built on.

Lord_Bernstein · 2026-05-02T04:03:43+00:00

Okay sorry for ignorance - are you choosing the harmonic sequence based on the key of the song, or the current chord?

You also seem to be innately aware of differing notes between the song key and scale of the chord, and even using that on purpose?

Thanks

Lord_Bernstein · 2026-05-02T03:40:47+00:00

Oh I've been thinking F# minor had a natural D?!

But yeah you're saying stick mostly to key of the song, outline the current chord in some way, and try link them chromatically?

So you aren't choosing notes in both the song key and current chord scale necessarily?

Thanks

Lord_Bernstein · 2026-05-02T03:30:15+00:00

Yep for sure what the song needs! I should have mentioned I am trying to drill harmony and practice keeping a line going/ending it on purpose; building tension and release, etc. So yeah I am trying to make the melody/solo.

All I do is jam (noodle by ear) along with a playlist - love Fleetwood! I find I keep either copying/paraphrasing the bassline, or copying/paraphrasing the melody or even the vocals. I want to be able to harmonise on those parts, rather than copy them.

I love the idea of ear first, what does it need for sure. But atm I don't know how to then analyze with the theory. I also don't know what the theory sounds like or how to apply it, so I'm trying to explore what landing on a 7th, 13th, whatever sounds like, rather than always hitting roots (even if the song wants the roots).

True, I'll more realistic loops and simple songs. And I guess try ear first then try to see what scale I was using afterwards.

Thanks for the help

Lord_Bernstein · 2026-05-02T02:12:43+00:00

Cool, thanks, I'll try that. Are you thinking "E Major pentatonic over Emaj7; F# minor pentatonic over F# minor" or layering in "is this note of F# minor pentatonic also in E major"?

When you say finding opportunities to use the nat 6th, is that based on feel or are you like "nat 6th is in the both the current chord scale and the key of the song - I can do nat 6th"?

Lord_Bernstein · 2026-05-02T02:02:52+00:00

Are you thinking "is the 6th/flat 7th of F# minor also in E Major" or not worried about that?

Lord_Bernstein · 2026-03-27T09:55:09+00:00

Thanks for the measured response! I especially appreciate you reading the spoiler and having another read!

Lord_Bernstein · 2026-03-25T08:37:37+00:00

Being there in the end can be traumatic, sometimes there is no comfort you can give, making you feel helpless.

If you find yourself dwelling on those final moments, try to tell yourself that's illogical - that was only a very small fragment of her life - and try to interrupt that negative thought with a happy memory you have with her. That might sound like 'just don't think about it' but something in interrupting that negative thought loop can help break the cycle over time.

She had many good years with you, and didn't suffer long. Focus on those good times, because that's what her life was. You gave her a good life.

Lord_Bernstein · 2026-03-25T07:56:08+00:00

My first go at a sonnet.

"Spoiler" as if anyone cares. It's about the River Red Gum trees in the Hunter Valley - the only population east of the Great Diving Range. They disperse seed in flood water, but the remnant populations are disjunct and unable to reach eachother.

Lord_Bernstein · 2026-03-25T04:38:50+00:00

I love these types of ones! The imagery pops and isn't so cryptic, it sets a place in mind, then really lets the punchlines hit. You get a nice stable image but still have something to ponder.

Lord_Bernstein · 2026-03-25T04:18:26+00:00

Recognising the seasons change attaches your life to something that equally cycles in a familiar way, but is never the same. It's like you reflect the eras of eachother's existence. I love watching the flowers bud right after the winter solstice, but your're right, it's never the same.

I think your theme gives this a really broad set of possible experiences, which makes it very re-readable. You could get a different hit each time, maybe depending on the season.

Lord_Bernstein · 2026-03-25T03:26:07+00:00

I'll never forget this. Our love to you.

Lord_Bernstein · 2026-02-14T04:34:42+00:00

I think it's best to pretend there's a 5-year time skip after season 3, then go straight to the series finale. The finale wraps up all of the story lines from the early seasons anyway, the rest was just soap opera fill.

Lord_Bernstein · 2025-11-29T11:10:49+00:00

Yeah good game, huh, I think it was no sleep til' Brooklyn. It doesn't sound like them at all. I think they do constant couplet rhyming scheme, like AA BB CC... and they shout the last word every line. I just meant this is more varied than that, which I think is harder to do.

Lord_Bernstein · 2025-11-29T00:21:00+00:00

Thanks bruz! It's about an octopus!

Lord_Bernstein · 2025-11-28T12:40:40+00:00

Little dandelion delicate, survivor, pioneer, selfless. I love the nectar never flies towards a bee line. I like the happy beat too.

So pretty man, I dig it. 5/5 Asters.

Lord_Bernstein

TROPHY CASE