prophetik music   Judges ⚖️

subbed. check your pm box.

parallel fifths is two voices/parts playing a fifth between them and then the next note is a fifth between them as well. it sounds normal to us (thanks to pop) but it was a big no-no back in the day. take a course in 16th century counterpoint and then tell me that the rules aren't useful for anything but historical perspective (lol). seriously, though, you'd be surprised how much people like beethoven, mahler, schoenburg, glass, and cage - revolutionaries of their time - useed the 'rules' as a basis for their music. it's worth it, i promise. don't forget that the rules i speak of aren't just voice leading, it's scales and progressions and non-chord-tone uses and stuff like that. that stuff is uber important, even if it's just for soloing and the like. YOU'D know that, of all people - SRV, petruci, et cetera - all were/are theory geniuses when it came to stuff like that. do YOU know when to use a whole tone scale? maybe you should find out.

AH. that's a little clearer. we'll use Fdim as our example chord. Fdim (in root position) to a C/E (first inversion) is a nice sound. Note that Fdim isn't really in the key of C, although it is in F# (lol at completely opposite keys). alternatively, going to a C sus4 chord with the sus in the bass, resolving downward, is a nice sound. you can substitute either of these chords with an F# chord to make it a true vii-I cadence, they both have distinctive and enjoyable sounds. if you're looking for something within the key and made specifically for it, your typical vii6-I is fine. going from our Fdim in first inversion (Fdim/Ab) to a I64-V7 figure in C (C/G, G7) to the true root, F#, is a slightly more involved way to fool with the key and your ears. harder to pull off, due to inversions and the like. need more? edit - another nice one is going from our Fdim/Ab to A major, A minor, I64-V7-I in D major, or Eb/G works well too.

don't get me wrong, i wasn't saying that if you write parallel fifths bach would kill a kitten, or something. what i WAS pointing out is that you CAN'T really write parallel fifths until you understand WHY they were 'bad' in the first place, four hundred years ago. well, yeah, you can, because there aren't really any rules nowadays - just general guidelines that help make things sound pleasing. but understanding it makes it that much better.

oh god, i can't wait. this is gonna be awesome!

heck, the rules were created so that they could eventually be broken - but it's knowing when you're breaking those rules and why that makes it better.

lol can i have context? I - vii - I progressions aren't very common because they're a less-strong variety of I V I (since a vii is just a V without the root), so most cadences that use I V I can use the vii chord with a bit of adjusting.

if someone honestly doesn't have a coat, i'll just give them mine. it's 21 degrees outside and we haven't even turned on the heat for the winter yet. i mean, my room is 57 degrees and i'm sitting here in my socks and a pair of shorts. yeah, last year we pretty much went out for every meal, just about, so we did a fair amount of walking/driving. edit - 55 degrees

this is incredible. if it isn't included, i'm pulling my mixes. edit - i'm kidding, fyi. but this track is fantastic.

what's the application? that'll change my answer.

almost. if you're going to use this, vii chords almost always show up in first inversion, meaning that in, say, the key of C, you'd see the chord like this: D F B. not usually a third. so, a progression that goes I - vii - I would be fine as long as it was a vii6, and not, say, a vii in root position.

i think so, what was it about? i can't remember...

i noticed that the old music theory thread is toast, and since some people are starting to ask questions about whether or not it's important to know theory i'll post this now. music theory is one of the most important things you can learn, besides how to play an instrument. it will completely change your musical ability, the way you view music, and whether or not people of the opposite sex will look at you. if you know music theory, you will drive a nice car and look hot. fyi. that said, i know a decent amount about it, so if you've got a question, feel free to ask. don't -ask 'h0w du eye mix?!?lolol -ask extremely generic question -ask about synth design and setups. this is for the notation side of theory, not the physics side of it. -ask about computers. do -have an example if possible -have an idea of what you're trying to learn -ask about computer programs using notation -ask about timbral and aural notation (aka, what instruments make THIS sound) if you need to, contact my by aim, email, or pm for a complicated problem. edit - it'd be nice if you could stickify this thread, just so that we don't lose it in the torrent of information that is remixing. the last one was stickied too, i think.

you don't want a soundcard, you want a preamp, then. M-Audio makes the Audiophile and MobilePre. both are fantastic, and i believe they make firewire setups, too. they both only have two inputs, unfortunately. they're both about 149$. if you still want a soundcard, you can get a nice internal or external soundblaster 24-bit at newegg for around 40 dollars.

dunno if anyone's posted this yet, but here's my response to cree''s post. i think that if you take the time to learn piano, you're going to discover the theoretical aspects of music will come along as you're learning keys. that said, if anyone has any theory questions, ask me. i'm going to be getting my masters in composition, probably, and i'm going to be working towards teaching theory at the collegiate level. so...if you've got a question feel free to ask me.

i've got a buyer possibly for my rhodes (that'd give me like 600 bucks) so i'll soon have funds to use towards this, i think. maybe. and a couple other non-substantial words meaning i might have money.

you forgot me faggot

i'll keep you company

i'm selling a rhodes

MY WORLD IS COLLAPSING AROUND ME! =( fisheh =(

i would vote for oddllama if he made a llamaworm sig

mostly i just want to sell my rhodes. that's about it.

that'd be so hot. i love the b3.

i'm still bulling through some of these wips. i prefer collaborative efforts, as a whole, so this has been difficult (in a good way) to manage all this music.

whatever you do, pick it yourself. i hadn't even listened to tetrisphere's soundtrack in four years when i said that it won - i should have picked a more tuneful game to go with my generally melodic-based remixing style.