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Calehay
...yeah.
Class B Minstrel
Joined: 07 Jul 2004
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 Posted: Mon Feb 21, 2005 5:15 pm Post subject: |
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Thank you, Setu. You explained that a bit better than I did.
| Quote: | Another good piece of advice is to keep different instruments in different octaves unless you specifically want them that way (small doses); the main reason is, if you don't do this, the music can sound more like a 'mound' of sounds than music.
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This is a bit questionable, but somewhat true. Sometimes, the timbre of musical instruments (this even applies to BAMs) mix to create a new texture that are pleasing to the ear. The only problem with the technique I just described is BAMs 9 voice limit, as opposed to a 20+ piece symphony. But if you have an intimate enough piece and want to double instruments, it shouldn't be look down on.
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Artimus Bena
Admiral
Joined: 17 Aug 2004
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Location: Dreamland.
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Jazz_Man
Joined: 02 Sep 2003
Posts: 248
Location: My basement.
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| Posted: Mon Feb 21, 2005 7:48 pm Post subject: |
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As for people in the past 60 years... ok... I woulda gone as far as to say since the beginning of music.  (Yay for music history courses...)
But anyway, trying something new is fine... but trying something already tried and already agreed to be a bad technique are 2 different things. Basically, I'm saying that if you noodle around in a music program, you'll probably do something different, but it'll be something that's been done before (comeplete with rules on how to avoid doing it).
To add an analogy on the stack of thinking you can make great music without theory thing... imagine trying to speak french having never picked up a french book. Sure, you might hit a couple words, or maybe a few sentences you know from other sources, but you can never fluently speak the language. That's precisely what muic is. It's a language of itself.
Forgive me for not making sense... long day... and I'm a bit pissy. |
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Artimus Bena
Admiral
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| Posted: Mon Feb 21, 2005 8:02 pm Post subject: |
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Well, I'll say it again  I said nothing against theory; after learning a certain part of theory, it allows the creative mind to better make, better music. You have to know the rules in order to break them.
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no_shot
Surpasses you in poetical prowess
Joined: 28 Apr 2003
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Location: On the road to perfection.
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| Posted: Tue Feb 22, 2005 12:54 am Post subject: |
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In music, theory and practice are like a fork and a knife. You can't really eat a steak with just one of them.
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Moogle1
Scourge of the Seas
Halloween 2006 Creativity Winner
Joined: 15 Jul 2004
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Location: Seattle, WA
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| Posted: Tue Feb 22, 2005 6:00 am Post subject: |
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| I can eat a steak with my bare hands, Captain Metaphor. |
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no_shot
Surpasses you in poetical prowess
Joined: 28 Apr 2003
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Location: On the road to perfection.
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| Posted: Tue Feb 22, 2005 11:26 pm Post subject: |
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Metaphors don't use like or as, Captain Smartass.
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Gizmog1
Don't Lurk In The Bushes!
Joined: 05 Mar 2003
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| Posted: Wed Feb 23, 2005 12:10 am Post subject: |
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Will you two quit bickering, and get back on topic? That's conduct unbecoming of an officer, and I'm demoting you both. Any questions, Lieutenant Smartass and Lieutenant Metaphor?
How exactly does one decide which key is right for his piece, and which chords to use in such? |
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Septimus
Warrior wizard garuda dwarf-chopping ocelot
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Joined: 08 Jan 2005
Posts: 40
Location: London
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| Posted: Wed Feb 23, 2005 4:10 am Post subject: |
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I tried using notate, but it didn't seem to be practical at all.
Stephanie's PC piano is brilliant in my opinion. As long as you have a good sense of timing, and the ability to create a good tune out of a couple of instruments playing at once, then you can create some really worthwhile and satisfying music.
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Moogle1
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| Posted: Wed Feb 23, 2005 11:10 am Post subject: |
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A simile is a metaphor, Private.
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Setu_Firestorm
Music Composer
Joined: 26 Mar 2003
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Location: Holiday. FL
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| Posted: Wed Feb 23, 2005 3:56 pm Post subject: |
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| Gizmog1 wrote: | | How exactly does one decide which key is right for his piece, and which chords to use in such? |
This is an interesting question to pose, especially since it's kind of difficult to answer.
All I can say, pretty much, is that you really have to be an artful person to really be able to just let those things flow from you. To me, personally, the piece comes in my head as a melody, and usually the harmony follows it soon after. As for finding the right key, I have a little referrence that I keep to myself with this (you'll REALLY think I'm flakey when I tell you this, but it helps me):
The key of C -- MAJOR: A key of smalltime happiness. Typical flighty sound. MINOR: A key of the deep. Better for expressing desperation and sadness in a dynamic form.
The key of D -- MAJOR: A more classical flow of light. While it flows like feathers in a breeze, it still keeps that classical sound. MINOR: A shallow key. This key is mostly used when doing hard rock (you'll notice this if you listen to a lot of alternative and metal.)
The key of E -- MAJOR: The key of life. Sounds of rebirth. MINOR: A key of sadness. Pictures of tears.
The key of F -- MAJOR: Baroque sound. A String Quartet's typical key next to B flat. MINOR: Classical baroque tune of darkness.
The key of G -- MAJOR: The typical upbeat song. Good for minuets. MINOR: Classical picture of sadness and desperation, with determination.
The key of A -- MAJOR: Key of water. It gives me pictures of someone peacefully moving through an ocean. MINOR: Way too typical key for sadness. Would be better for a baroque sound.
The key of B -- MAJOR: Inventive. Challenging. MINOR: Last hope. Last sign of light in the tunnel.
Anyway, that mumbo-jumbo probably won't mean anything to you. All I can say if you don't have a feel for it is to experiment until you find a key that you feel suits your tune.
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no_shot
Surpasses you in poetical prowess
Joined: 28 Apr 2003
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Location: On the road to perfection.
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| Posted: Wed Feb 23, 2005 11:49 pm Post subject: |
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I think melodies affect mood more than their basic keys. I've heard songs in minor keys that are happy, and songs in major ones that are sad. Deciding a key is just a matter of intuition, which comes from PRACTICE.
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Moogle1
Scourge of the Seas
Halloween 2006 Creativity Winner
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Location: Seattle, WA
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| Posted: Thu Feb 24, 2005 6:03 am Post subject: |
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Setu, I've heard that before, and I think it's full of crap. Unless you have perfect pitch, you can't tell G Major from C Major.
Then again, I'm no expert on the matter... *shrug*
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Setu_Firestorm
Music Composer
Joined: 26 Mar 2003
Posts: 2566
Location: Holiday. FL
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| Posted: Thu Feb 24, 2005 3:08 pm Post subject: |
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| Moogle1 wrote: | Setu, I've heard that before, and I think it's full of crap. Unless you have perfect pitch, you can't tell G Major from C Major.
Then again, I'm no expert on the matter... *shrug* |
erm....I didn't get that information from anywhere. That's just how I perceive musical sounds. Since you probably didn't know that, no offense taken.
I don't even consider myself an expert on the matter, it's just that I consider music an art rather than a science, in which case I just start painting the musical portrait without even thinking too much about the technicalities. Now, because I have a lot of training and experience under my belt, my knowledge of theory helps my painting to all fall into place.
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Moogle1
Scourge of the Seas
Halloween 2006 Creativity Winner
Joined: 15 Jul 2004
Posts: 3377
Location: Seattle, WA
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| Posted: Thu Feb 24, 2005 5:32 pm Post subject: |
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I mean that I've heard things to that effect before, not your specific take on it. It just doesn't make any sense to me.
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