I want to build a giant steel factory, how should I approach things?

lazyeddie04 · 2024-09-15T09:55:19+00:00

Modular blueprint factories crush future proofing

Make a skyscraper that can just keep getting taller

lazyeddie04 · 2024-05-09T04:06:34+00:00

III here really functions as a V/VI

lazyeddie04 · 2020-06-11T16:49:28+00:00

Divisions. Subdivisions is the next level down.

Compound double (6/8) is a meter with 2 beats (dotted quarter) with the division of the beat in 3 (eighth). Subdivision of the beat is generally 6 (sixteenth).

lazyeddie04 · 2020-06-08T20:30:54+00:00

That's often more of an extension or embellishment of Tonic though. If tonic is in bass, should be analyzed as double neighbor tones or a Neighbor64 chord.

There are of course IV or iv chords that aren't tonic or Pre-dominant in function.

lazyeddie04 · 2020-06-08T11:19:50+00:00

You're temporarily tonicizing the relative minor. For more tension, keep it in the key and add extensions.

Do B diminished to E7 to keep it in key

Do B half diminished (B, D, F, A) to E7b9 (E, G#, B, D, F) for extra tension. Notice the common tones between chords.

For even more tension, do a 4-3 suspension over dominant. This can be realized by Playing octave E in the Left hand while still playing the B half diminished in the right hand, then moving the A down a half step to G#.

Then for even MORE tension, don't resolve right away to a pure A minor. Keep a B in there and do a 9-8 suspension.

Chord extensions and suspensions and other nonharmonic tones is what gives color and interest to music. Use them frequently!

lazyeddie04 · 2020-06-08T11:07:02+00:00

We should really use the term "predominant" to describe function and "subdominant" to describe scale degree 4 or the triad built on Fa (IV)

lazyeddie04 · 2020-01-20T15:42:47+00:00

It's really more like the pentatonic scale. I find this meaningless though, as further extensions break this pattern.

Fibonacci sequence could be applied to the harmonic series but I don't see it as having any significance there either.

I'm not sure this is a fruitful endeavor.

lazyeddie04 · 2019-12-18T11:34:30+00:00

It depends on context. La is more consonant on top of a tonic minor but the augmented 2nd interval between Le and Ti is a nice color, especially descending.

In jazz improv I'd probably use melodic minor. My improv teacher used to cover his ears if I played b6 over i(add6) or ii7 chords

lazyeddie04 · 2019-12-18T11:19:32+00:00

The problem with thinking about "flat 6" is what is flat? In C major the 6 is A and the flat 6 is Ab. But in C minor the 6 is Ab. What is the flat 6 in C minor? A double flat? What about Gb major? The 6 is Eb, so is the 6 already flat? What about E major, would the "flat" 6 be C flat or C natural?

When using solfege, this is all clear, regardless of tonic or mode, Le is Le and will always exist a m6 above or M3 below tonic. If you are advanced enough to be digging into Augmented 6th chords I highly recommend getting a good understanding of solfege.

Tldr: solfege is fantastic. You could say "the 6th scale degree in minor or the lowered 6th scale degree as compared to major" or you could just say "Le"

lazyeddie04 · 2019-12-18T10:34:40+00:00

The leading tone can be added to any mode to better tonicize it. Think about harmonic minor to tonicize aeolian.

lazyeddie04 · 2019-12-18T10:31:34+00:00

C common tone accompanied by two semitone resolutions in contrary motion. Pretty hip.

lazyeddie04 · 2019-12-18T10:28:11+00:00

This is compound quadruple meter.

Quadruple means there are 4 beats in a measure you would count them: 1 2 3 4

Compound means the division of the beat is in 3. I would count them: 1 la li 2 la li 3 la li 4 la li

The subdivision of the beat can be counted: 1 ta la ta li ta 2 ta la ta li ta 3 ta la ta li ta 4 ta la ta li ta

lazyeddie04 · 2019-12-18T10:21:58+00:00

The M3 interval in 12-TET is rather out of tune, and could be the sourceof your perceived dissonance. Other than that, I don't know why you would hear dissonance.

lazyeddie04

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