You'd probably like Debussy, too. He mixes abstract progressions (well, "changes" -- with no tonic, there is nothing to "progress" towards!) with beautiful melodies. Some of the things he does with tritones and whole-tone scales... wow!
Then there's the serialists; nothing but the purest abstraction. Usually too pure for me, I'll admit; but some of them (Stravinsky, for example) managed to temper it to traditional ears.
music theory/musical cliches/formula/tips etc
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- KVRAF
- 6519 posts since 13 Mar, 2002 from UK
I just looked at your crappy little website. You write substandard midi processors. I wondered what the petulance was all about.glurgle wrote:Well you're correct my comment had only to do with your attitude towards somebody else attempting to contribute. You gave no constructive criticism, just called him ignorant and then didn't explain what you meant. Not really my problem I guess, but I didn't want a user who just registered to be put off the forum because of it.nuffink wrote:Translation. nuffink can be bothered to answer. Arseholes like me just write snide comments when we can be arsed, because the actual theory's beyond us.glurgle wrote:Don't worry too much about it 215. Nuffink is just quite convinced he is the law when it comes to modal theory, and the rest of us don't care enough to argue.215 Productions wrote:If want, we can have a friendly talk about what I do and don't know, if want privately and keep it off the forum. Feel free to contact me directly via my email address if interested. For now, I will abort this forum for Into's sake of seeking information.
Regarding theory, my lack of enthusiasm for writing about it does not equate ignorance. Thanks for assuming though.
edited for inflammatory speech.
Now with improved MIDI jitter!
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- KVRist
- Topic Starter
- 41 posts since 27 Jun, 2006
boy do some of you guys need girlfriends, and no the creatures from the decent don't qualify nor do eastenders watching beasts
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- KVRist
- 353 posts since 20 Nov, 2005
press a key on the piano, then a press another key that sounds good after the first key you pressed, then press a few more keys after that and you'll have something that sounds good, then combine keys to create harmony and you're on your way to becoming a rock star biatch.
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- KVRAF
- 1617 posts since 19 Mar, 2002 from Victoria, BC
Yeah I made those to fill a specific niche and work in a way I couldn't with other available plugins. They're made with synthmaker about 7 betas ago in a couple hours work. You've really hit me where it hurts there.nuffink wrote:I just looked at your crappy little website. You write substandard midi processors. I wondered what the petulance was all about.glurgle wrote:Well you're correct my comment had only to do with your attitude towards somebody else attempting to contribute. You gave no constructive criticism, just called him ignorant and then didn't explain what you meant. Not really my problem I guess, but I didn't want a user who just registered to be put off the forum because of it.nuffink wrote:Translation. nuffink can be bothered to answer. Arseholes like me just write snide comments when we can be arsed, because the actual theory's beyond us.glurgle wrote:Don't worry too much about it 215. Nuffink is just quite convinced he is the law when it comes to modal theory, and the rest of us don't care enough to argue.215 Productions wrote:If want, we can have a friendly talk about what I do and don't know, if want privately and keep it off the forum. Feel free to contact me directly via my email address if interested. For now, I will abort this forum for Into's sake of seeking information.
Regarding theory, my lack of enthusiasm for writing about it does not equate ignorance. Thanks for assuming though.
edited for inflammatory speech.
Hey, next you can listen to my music and tell me how shitty it is too ok? That'll really put me in my place.
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- KVRAF
- 2356 posts since 30 Sep, 2003 from Sunny Staffordshire
Lol, how does being enthusiastic about ones work say ANYTHING about their personal life?intothedawn wrote:boy do some of you guys need girlfriends, and no the creatures from the decent don't qualify nor do eastenders watching beasts
Fool.
TB
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- KVRAF
- 2356 posts since 30 Sep, 2003 from Sunny Staffordshire
As if happens, I was only saying just now on another thread that Im currently loving Debussy and with Ravel and Sibelius (pretty much anyone who embrassed the impressionistic style).
Sibelius inparticularly made interesting use of modes. One of his 'five pieces for piano' uses the Mixolydian mode, and sounds pretty much like fresh out of Thomas Newman score!
TB
Sibelius inparticularly made interesting use of modes. One of his 'five pieces for piano' uses the Mixolydian mode, and sounds pretty much like fresh out of Thomas Newman score!
TB
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- KVRist
- Topic Starter
- 41 posts since 27 Jun, 2006
tee boy wrote:Lol, how does being enthusiastic about ones work say ANYTHING about their personal life?intothedawn wrote:boy do some of you guys need girlfriends, and no the creatures from the decent don't qualify nor do eastenders watching beasts
Fool.
TB
"laugh out loud" enthusiastic about ones ego more like it
and which part of my little joke do you feel is specifically aimed at your
enthusiasm, or you in particular?
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- KVRAF
- 2279 posts since 20 Dec, 2002 from The Benighted States of Trumpistan
Oddly enough, my wife agrees. But her closet bisexuality may have something to do with that.My spies inform me that intothedawn wrote:boy do some of you guys need girlfriends,
I'm not entirely sure how to parse this, but I think you're making pop culture references. Unfortunately, you'll find that most of them are lost on me; I have this silly notion that live should be lived, not observed, so my TV gets very little use.and no the creatures from the decent don't qualify nor do eastenders watching beasts
Wait... loot _then_ burn? D'oh!
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- KVRist
- Topic Starter
- 41 posts since 27 Jun, 2006
so you've appointed yourself as spokesperson have you?tee boy wrote:Im speaking generally on behalf of those with musical aspirations. And a man who hasnt had sex in three years...
TB
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- KVRAF
- 2356 posts since 30 Sep, 2003 from Sunny Staffordshire
Yep, I am the advocate for womanless internet muso geeks the world around.
I have a spare seat on Tuesdays if you'd like to join? We stay up all night watching Quiz Mania, its great!
TB
I have a spare seat on Tuesdays if you'd like to join? We stay up all night watching Quiz Mania, its great!
TB
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- KVRAF
- 2356 posts since 30 Sep, 2003 from Sunny Staffordshire
intothedawn,
Actually, in hindsight that was a little harsh and I do apologize.
In truth, I was just trying to toughen your hide for the harsh beatings it will take at the monastery that is KVR!
TB
Actually, in hindsight that was a little harsh and I do apologize.
In truth, I was just trying to toughen your hide for the harsh beatings it will take at the monastery that is KVR!
TB
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- KVRAF
- 5703 posts since 8 Dec, 2004 from The Twin Cities
OK back on topic
Some of the most fascinating scale structures you can work with are among Messiaen's modes of limited transposition. These are scales that are symmetrical within the octave.
Most of the scales in common use (including all of those mentioned so far in this thread) are NOT symmetrical within the octave. This is because they are based on the circle of fifths. And fifths (and obviously their inversions: fourths) are made up of 7 (5) half steps, and the octave has 12 half steps, which is not evenly divisible by 7.
But if you look at the intervals that are factors of 12, you will see a number of possibilities:
2 divides evenly into twelve, giving the whole tone scale (c,d,e,f#,g#,a#,C)
3 divides evenly into twelve, giving a diminished seventh chord (c,d#,f#,a) if you combine this with the diminished 7th chord one half step up (c#,e,g,a#) you get the diminished scale
4 divides evenly into twelve, giving an augmented triad (c,e,g#), which when combined with the augmented triad a half step up (c#,f,a) gives a delightful scale of six notes without a common name, but which is very common in a great deal of 'modern' music, It sounds vaguely eastern to many, though it is totally artificial and western in origin.
Must go, I will return to this when time permits.
Oh, and I too am married. To a lovely woman 15 years my junior.
So there.
Some of the most fascinating scale structures you can work with are among Messiaen's modes of limited transposition. These are scales that are symmetrical within the octave.
Most of the scales in common use (including all of those mentioned so far in this thread) are NOT symmetrical within the octave. This is because they are based on the circle of fifths. And fifths (and obviously their inversions: fourths) are made up of 7 (5) half steps, and the octave has 12 half steps, which is not evenly divisible by 7.
But if you look at the intervals that are factors of 12, you will see a number of possibilities:
2 divides evenly into twelve, giving the whole tone scale (c,d,e,f#,g#,a#,C)
3 divides evenly into twelve, giving a diminished seventh chord (c,d#,f#,a) if you combine this with the diminished 7th chord one half step up (c#,e,g,a#) you get the diminished scale
4 divides evenly into twelve, giving an augmented triad (c,e,g#), which when combined with the augmented triad a half step up (c#,f,a) gives a delightful scale of six notes without a common name, but which is very common in a great deal of 'modern' music, It sounds vaguely eastern to many, though it is totally artificial and western in origin.
Must go, I will return to this when time permits.
Oh, and I too am married. To a lovely woman 15 years my junior.
So there.
