Chords & Harmony

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omnipresence
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Re: Chords & Harmony

Post by omnipresence » Mon Feb 27, 2012 10:11 am

I didn't mean to suggest that you should have to resolve chords that have inherent tension, I often don't do this as well, I was just giving an another example. What I was getting at is that different voicings of the same chord have different results.

I would say if you were analysing a progression or a piece as a whole then you should include the bass. I think about harmony that way all the time even if I am only playing treble chords. But I know what you mean, it is valid to say that, especially if you're playing with other people or have several independent things going on.

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Re: Chords & Harmony

Post by AK » Mon Feb 27, 2012 12:00 pm

Only because I might sustain that chord, because the bass not may change during that sustained chord or then again, it might, it's always easier to think of the chord and any other harmonising as separate from the bass tone unless you are on like Piano......but I agree with you too. It just gets too complex your way because where do you stop?

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Re: Chords & Harmony

Post by JonasEdenbrandt » Mon Feb 27, 2012 1:32 pm

If you look at classical stuff (lets say classical and romantic periods so it wont get to advanced) it all works omnis way. That the whole thing ads upp to different harmonies. If you really start thinking about these things and try to get them into your music, like "what part of the chord is the bass note" and so on you can do stuff thats really cool. But just as AK says it also gets very very complex.

A cool thing for example would be to play C and E in an upper register and G in the bass and then sustaining or repeating the higher register and playing C in the bass to swith from a G-4-6 to a C without actually chaning the notes played in the higher register.

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Re: Chords & Harmony

Post by simonb » Mon Feb 27, 2012 3:03 pm

JonasEdenbrandt wrote:If you look at classical stuff (lets say classical and romantic periods so it wont get to advanced) it all works omnis way. That the whole thing ads upp to different harmonies. If you really start thinking about these things and try to get them into your music, like "what part of the chord is the bass note" and so on you can do stuff thats really cool. But just as AK says it also gets very very complex.

A cool thing for example would be to play C and E in an upper register and G in the bass and then sustaining or repeating the higher register and playing C in the bass to swith from a G-4-6 to a C without actually chaning the notes played in the higher register.
It's fun stuff... get into some jazz as well, lots of that sort of thing.

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Re: Chords & Harmony

Post by kivetros » Mon Feb 27, 2012 7:42 pm

Do you guys tend to come up with a chord progression before even starting a track, or do you work it in as you go?

I usually start with percussion, but that's only because I have a really hard time coming up with decent chords and synth lines... I've never thought to take such a scientific approach to it. I guess I need to brush up on some music theory.

-K

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Re: Chords & Harmony

Post by AK » Mon Feb 27, 2012 10:35 pm

kivetros wrote:Do you guys tend to come up with a chord progression before even starting a track, or do you work it in as you go?

I usually start with percussion, but that's only because I have a really hard time coming up with decent chords and synth lines... I've never thought to take such a scientific approach to it. I guess I need to brush up on some music theory.

-K
Personally, I don't have any specific method for starting a track, could be a beat, a bassline, a chord. I usually get harmonic ideas from 'doodling' about on my Triton with an EP loaded. Even very basic two-handed keyboard playing will get you ideas for chords/bass/leads/rhythm. Even if they're just ideas, you can take them, write them down, or record them and begin with a blank slate and proceed to write something in your own style. A lot of people have different methods but my ideas come about from the above, so when I actually find some harmony I like from playing around on a keyboard, I can have at least a vague idea for a track and see how it pans out from there.

I don't think there's any 1 specific method that works best. Some people prefer to begin with chords, others prefer melodic or bass lines. I think both can lead to very different outcomes in what the track ultimately sounds like, but neither necessarily being a 'better' approach.

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Re: Chords & Harmony

Post by JonasEdenbrandt » Tue Feb 28, 2012 11:15 am

I also start in almost any end, sometimes with a beat, sometimes from playing on the keyboard and other times from taking a walk or beeing in school and and idea forms and when i get home I try to make it in to a track.

I think the most important thing I learnt is that none of the stuff you put in should be static. Like if you have a chordprogression going and you start building a track around it and then sudenly the chordprogression dosen't fit anymore just loose it. Instead of trying to fix the whole thing around it. Think of it as the chords did their part in inspiring the rest of the track but they don't have to be there just cause you came up with it first.

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Re: Chords & Harmony

Post by kivetros » Tue Feb 28, 2012 3:29 pm

AK wrote:Personally, I don't have any specific method for starting a track, could be a beat, a bassline, a chord. I usually get harmonic ideas from 'doodling' about on my Triton with an EP loaded. Even very basic two-handed keyboard playing will get you ideas for chords/bass/leads/rhythm. Even if they're just ideas, you can take them, write them down, or record them and begin with a blank slate and proceed to write something in your own style. A lot of people have different methods but my ideas come about from the above, so when I actually find some harmony I like from playing around on a keyboard, I can have at least a vague idea for a track and see how it pans out from there.

I don't think there's any 1 specific method that works best. Some people prefer to begin with chords, others prefer melodic or bass lines. I think both can lead to very different outcomes in what the track ultimately sounds like, but neither necessarily being a 'better' approach.
Thanks. I guess I have always struggled with coming up with decent non-percussive sounds for minimal and techno tracks. I come from a trance / progressive background, so I get lost with trying to find rhythmic synths that don't sound like a supersaw progression. I can sit and write fantastic percussion all day, but I find myself very, very lost with minimal / techno chords and how they're done.
JonasEdenbrandt wrote:I think the most important thing I learnt is that none of the stuff you put in should be static. Like if you have a chordprogression going and you start building a track around it and then sudenly the chordprogression dosen't fit anymore just loose it. Instead of trying to fix the whole thing around it. Think of it as the chords did their part in inspiring the rest of the track but they don't have to be there just cause you came up with it first.
I have learned that lesson the hard way. That's very good advice... thanks.

-K

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