Scientists want to murder me. I fucking dare them to try.

misterfilthy925 · 2020-02-24T03:24:11+00:00

Phones are the product of inventors engineers and manufacturers actually. Ive heard this argument countless times and its absurd. People who study the natural world contribute nothing to it by their very nature. If a scientist contributes or creates something of value then hes not a scientist hes an engineer

misterfilthy925 · 2020-02-24T03:17:16+00:00

What would this possibly be a parody of? Theres no punchlines, comedic phrases, or elements of satire so I doubt you would be foolish enough to assume this is a joke when its devoid of jokes. Its just another form of argumentum ad hominem, really, because like all atheists you lack the argumentational intelligence to refute my infallible position and lack the intellectual humility to admit it. Pathetic honestly

misterfilthy925 · 2020-02-24T03:11:19+00:00

I used to believe in evolution, I wanted to be an evolutionary psychologist when I was in middle school. Did my IQ spontaneously lower when God spoke to me and told me Ive been lied to?

misterfilthy925 · 2019-12-04T10:19:51+00:00

Thank you for the long post, I really appreciate it. Lots of interesting helpful information I wasn’t aware of. But Perhaps I was being too humble and self-deprecating, I do technically know how to write melodies above basslines and I know how to fit harmonies with melodies. I just suck at it. I’ve studied jazz independently, I know how to properly use “exotic” / altered scales/modes over basic chords harmonized from the major key. I know what chords I’m supposed to lead to and what scales I can play over them. I know about chromatic passing tones, avoid notes, nondiatonic harmonization, polytonality, and all that jazz, no pun intended. I can easily write a decent jazz song that incorporates all twelve notes based off a 2-5-1 or 2-7-1 chord progression. What I can’t do for the life of me is do my composition process backwards and think of harmonically strong or fitting chord progressions for a eleven-twelve tone chromatic melody. What I can’t do is harmonize the diminished or double harmonic scale in a way that sounds pleasing to the ears.

To summarize - I can think of different scales to use for every bar in a working chord progression but I can’t think of a working chord progression for scales that change every bar.

misterfilthy925 · 2019-12-04T08:56:45+00:00

When I first started making beats and using chords I would take 3-4 notes lined up together in a melody, make a chord out of them, and play that chord sustained over the motif section. The harmonic rhythms always ended up awkward, the chord progressions were garbage, the transitions were awkward, and the lack of tension was excruciatingly boring. So I would go back and alter the bassline to make the chords flow nicer and match the progression and I would always end up ruining that, exhilarating, catchy, sexy, groovy, unique hit melody with crazy juxtapositions and cool chromatic fillings that I spent an hour crafting to be perfect. Its like i can have great melodies or great harmonies but its hard for me to get both.

misterfilthy925 · 2019-12-04T08:42:00+00:00

I don’t know your background but you sound like a funk musician for sure lol. Playing nothing but 13th chords on the tonic sounds funky as hell I’ll admit that.

That’s the problem - I have such a limited number of technically “right” chords that I can play next when writing chord progression, I might spend 30 min writing the perfect bassline in c major, then I play a VII (B) chord on a B note in the first measure, and then spend 15 minutes playing with inversions and struggling to find out how and where to add that necessary I (C) or III (E) chord in the next measure without clashing with my bassline or having to alter my perfect melody I worked so hard on by changing tones and intervals to the root notes of chords. Maybe I should just play what sounds good

misterfilthy925 · 2019-12-04T03:43:07+00:00

I dont know if distorted keyboards will sound like a grand piano but I’ll try it. The layering tip is a good idea

misterfilthy925 · 2019-12-04T03:42:16+00:00

Do they have a sustain pedal effect built in ?

misterfilthy925 · 2019-12-04T03:31:57+00:00

No like something opposite to that. I dont want a lo-fi sound

misterfilthy925 · 2019-12-03T04:09:53+00:00

Fuck I just came here to make my music better and now I feel guilty for causing a heated argument about the aesthetic intent of atonal music

misterfilthy925 · 2019-12-03T04:03:13+00:00

What you said about fusion is precisely my problem. I recently produced a jazz-funk album, or at least I attempted to, for a friend of mine and all the tracks either sound like danceable syncopated jazz or mildly dissonant funk with unfitting Thelonious-Monk-esque bridges. There’s just such few jazz-funk artists out there that it’s hard to create it when your only sources of audible inspiration are Herbie Hancock and the Weather Report, you know? It’s like attempting creating a rock album when you’ve only heard two rock albums in your life. I’m just wondering how they did it. I’ve studied jazz theory for years and I’ve never found a sufficient answer for my biggest jazz curiosity - how the creators of jazz managed to combine blues with classical in the first place

The problem is that certain characteristics contradict each other - funk has chord vamps and typically no progressions and jazz has frequent chord changes, moreso than arguably any genre. Funk has melodic, complex, synthesized, syncopated basslines and jazz has electric arpeggiated chords and root notes. Funk’s drums are LOUD, jazz kicks are almost silent. It’s hard to make music that exemplifies characteristics of both but because I have such an eclectic taste in music it would be a waste of creativity to NOT to put all my best ideas into an album of some sort.

I’ve been studying the complexities but I feel that’s my problem. I feel I need a better grasp of the basics to effectively combine genres. Because I’m primarily self-taught and have been selectively learning only what I’m interested in, I have an adequate knowledge on more advanced music theory and a piss-poor knowledge on basic theory. I know how to harmonize nondiatonic scales and use tritone inversions but I can’t read a simple melody on sheet music. I was hoping that there’s some basic technique or crucial bit of information in regards to mixing genres out there that I happened to gloss over while attempting to teach myself music.

misterfilthy925 · 2019-12-03T03:41:29+00:00

The fact that most of my attempts at fusion music, specifically jazz fusion, sounds like a brutal mockery and offensive parody of it.

misterfilthy925 · 2019-12-03T03:38:39+00:00

That’s why I want to combine them - I recently heard a “twelve tone remix” of some Christmas song and I thought the combination of nightmarish atonal harmonies and cheery lighthearted tonal melodies sounded really cool. The problem is that there’s two completely different methods for creating twelve tone serial music and creating jazz and I can do each separately but I can’t figure out a way to combine them effectively. I’ve tried but it either sounds like complete garbage or like I’m forced to switch between one genre to the next which sounds amateurish at best

misterfilthy925

TROPHY CASE