Tolek

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    3
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About Tolek

  • Rank
    Snacks'N Jaxson (+1)

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  • Gender
    Male

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Logic
  • Software - Preferred Plugins/Libraries
    Komplete Ultimate 10, Hollywood Orchestra
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Acoustic Guitar
    Electric Guitar: Lead
    Electric Guitar: Rhythm
    Vocals: Male

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  • Occupation
    Musician
  1. So that gives us the notes E G# B# (enharmonically: C). Considering the rest of the chords from the first half of the progression that are derived from the E harmonic minor scale, we can create a hybrid scale: the E minorMajor scale - E F# G G# A B C C# D D#. These notes will sound good if used with the right amount of taste over the progression. To be safe or to give your composition a different flavour, you can use a different scale over each chord. For example: Em - E melodic minor Eaug - E Phrygian Dominant GMaj - G Lydian BMaj - B Phrygian Dominant etc There's plenty of room for experimentation in chord progression like this!
  2. You could classify the first 4 chords under some sort of E minor scale as Em, G and B are part of the E harmonic and melodic minor scale. The outstanding chord here is the G#aug which includes two common notes with E minor: C and E. The G# is borrowed from E Major and creates an unusual kind of tension. The last four chords are simply a ii, IV, vi, I progression in C# Major. To conclude, when you write a melody over these chords you can use E harmonic/melodic minor for the first half and C# Major for the second half. You can't go wrong by targeting 3rds and 7ths of each chord. Hope that helps!
  3. Hey Mike, thank you for your effort! Looking forward to seeing more of this.