see my previous post regarding my PM.jancivil wrote:Good grief. What terms do you think in? This is a matter of basic coherence. Now, your writing tends to fail here so, seriously, what terms do you have to replace "chords" "belonging" to "keys"? EG: B minor 'belongs' to a number of keys. If we know that it's ii in A major, and we know that ii in major tends to be subdominant, we understand something of the grammar of tonality. Do you somehow fear that this will be an obstacle to your freedom?zethus909 wrote:exactly, its on a tone to tone basis, its all just intervals, and there is no doctrine involved in what your next step is "allowed" to be. there is no rule, when you are making music. rules destroy it. it's faulty to think in terms of "chords", that "belong in keys". etc.Any chord can follow any chord, because they are no longer treated as such
NB: some do not need all this info. McCartney had no problems. But in You Never Give Me Your Numberzethus909 wrote: there is simply certain principles, that work, and are effective. but it's not even their manfestation that creates effective music, it's all the stuff in between.
(I) any jobber
(V) got the sack
(vi) Monday morning
(iii) turning back
(IV) yellow lorry slow, no
(I) where to go...
He works with the principles that are known to work, and knows how they work. Thru osmosis? Could be, but if we want to convey WHAT IT IS as I'm doing here, this is the language we use. Macca speaky the lingua franca, no doubt. Here's it's the manifestation of (the wholly conventional) I V vi iii IV I, and, below bVII IV I that allows him to proceed.
SO. What are you fighting? Rebel without a clue.
but
(bVII) oh, that magic feeling
(IV) nowhere to
(I) go
So, here's a deviation. How do we teach it? What is your methodology?
The simple change of VII creates the possibility of "oh, that magic feeling" conveying the magic of that thought.
So.
Do you think to teach the stuff in between (the unteachable, I think) or convey coherent information and then examples follow which demonstrate knowledge.
and note well, do cease PM'ing me; if you want to justify what you wrote in here after the critique, do it here. seriously.
i dont know what you are saying, with regard to teaching, i never said I am a teacher. but when i feel like trying to help someone understand music better, then I try to. not necessarily understand music THEORY better, but understand MUSIC....and understand what music really IS...music is real, it's not an abstraction.
hmmm ok, i see what you are implying with that song reference, i didnt say that you cant create space and infinitenesss without using suspended chords. of course in the context of a certain progression you can evoke that sens also. i am speaking on a chord to chord basis. there is simple no other type of chord, in ISOLATION, that evokes space and infiniteness more than a suspended chord. and firm triads evoke certainty and drive home messages, this is why national anthems use triads, what national anthem uses suspended chords, except maybe some exotic nations somewhere like the carribean maybe. this is not a prescription, this is just something i have learned from using thousands of chords in a thousand songs and progressions. suspended chords create immediate sense of space and airiness, in isolation. this is why they are used so much in the 80s music. it was a reflection of the time. alot of collective optimism, with reagan and the end of the cold war, couple that with the imminent crossing of the millenium, the new age, 2000.
suspended chords are also ESSENTIAL, in trance music, not old trance music, but anything modern like post 2000 lets say. but you said you dont listen or know much edm music.