Hello all,
A musical theory learner here - I am hoping someone can set me on the path to understanding with this. I have had a look online regarding this but im none the wiser....
How does the CMD on ANA 2 come up with the chords on the epic trance preset (for example). When this setting is activated 5 'activation' keys seem to become available on the lower keyboard - F, G#, A#, C and D#
These keys then appear to play these respective chords - Fm7, EbMaj7sus4Ab, Bbadd11, Cm9, Ebadd9.
My question is - what is the theory behind these chords? It is a mystery to me why these chords are being suggested for this particular setting?
Any advice appreciated
Theory question - chord trigger ANA 2
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- KVRist
- Topic Starter
- 89 posts since 28 Sep, 2019
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- KVRAF
- 11001 posts since 15 Apr, 2019 from Nowhere
The problem I see here is that you are approaching this backwards - composing music from theory is the usual path, but you are trying to deconstruct a list of chords back to theory and compositional decisions.
I don’t know why those chords were chosen, as the logic of the software made those decisions - I assume because some set of predefined rules that are called “Epic Trance” decided on them. Whether or not those choices Originated in the application of conventional theory I don’t know - could have been the result of the software developer experimenting with random chords until he/she liked the outcome.
IMO it is better to learn the theory first if you want to understand what makes sense from a compositional viewpoint, not the other way around.
I don’t know why those chords were chosen, as the logic of the software made those decisions - I assume because some set of predefined rules that are called “Epic Trance” decided on them. Whether or not those choices Originated in the application of conventional theory I don’t know - could have been the result of the software developer experimenting with random chords until he/she liked the outcome.
IMO it is better to learn the theory first if you want to understand what makes sense from a compositional viewpoint, not the other way around.
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
In the key of Eb, there's ii, I, V, vi, I. Can't be certain without hearing it but these will all work within a key of 2, 3 or 4 flats; the quality of D is not given but more typically the "add11" designation indicates a minor triad and a minor 7th. This would contain Db, then. Progression seems odd. Intro to music theory tip: the chords happen from a flat key and the line uses sharps. F Ab Bb C and Eb agrees with the signs in the chords
I tend to doubt the sus 4 in the EbM7 chord, as practically undesirable, almost never done as a jazz construction anyway. Similar reason as that for add11, the clash of P4 and M7, compare P11 and M3. Then, if it's supposed to be built on Ab, even less likely, although one could write Eb^7/Ab, slash indicating a chord not in the triad is in the bass. G Ab D Eb is in that chord then, and I don't know why, I don't even know how it's supposed to be voiced.
As a beginner this is not a good progression to deconstruct really at all, you likely have little idea what I'm talking about. Start from a real beginning and forget about wondering why this. Someone at the factory programmed it, one hopes the instrument can be by the user, but this one is not really your problem right now.
I tend to doubt the sus 4 in the EbM7 chord, as practically undesirable, almost never done as a jazz construction anyway. Similar reason as that for add11, the clash of P4 and M7, compare P11 and M3. Then, if it's supposed to be built on Ab, even less likely, although one could write Eb^7/Ab, slash indicating a chord not in the triad is in the bass. G Ab D Eb is in that chord then, and I don't know why, I don't even know how it's supposed to be voiced.
As a beginner this is not a good progression to deconstruct really at all, you likely have little idea what I'm talking about. Start from a real beginning and forget about wondering why this. Someone at the factory programmed it, one hopes the instrument can be by the user, but this one is not really your problem right now.
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- KVRist
- Topic Starter
- 89 posts since 28 Sep, 2019
That is what i suspected but was wondering around any theory behind it. Most epic trance uses fairy standard arrangements imo so was curious. Thanks for adviceForgotten wrote: ↑Thu Oct 03, 2019 2:23 pm The problem I see here is that you are approaching this backwards - composing music from theory is the usual path, but you are trying to deconstruct a list of chords back to theory and compositional decisions.
I don’t know why those chords were chosen, as the logic of the software made those decisions - I assume because some set of predefined rules that are called “Epic Trance” decided on them. Whether or not those choices Originated in the application of conventional theory I don’t know - could have been the result of the software developer experimenting with random chords until he/she liked the outcome.
IMO it is better to learn the theory first if you want to understand what makes sense from a compositional viewpoint, not the other way around.
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- KVRist
- Topic Starter
- 89 posts since 28 Sep, 2019
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
The one thing to take fr. my words is I expect the progression there to end up being more aspirational than expert; forget about it... although there are a couple of things, if you do get into jazz extensions, as cautionary. Way down the line maybe.
