Breaking the Rules
Feb. 20th, 2010 01:44 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
sathorAbsolutely so bored to death of composing in singular keys I've given up on it.
Fact is, there's a hell of a lot more riveting stuff to be made when you simply disobey absolutely music theory. The only theory you need is what makes a chord a chord and deciding how you want to progress.
I've got a progression right now that I'd like to use. It's D Sharp Major, A Sharp Minor, C Sharp Major, G Sharp Major but voiced in peculiar ways. Trying to get beyond four chords is exceedingly difficult, although I'm going to keep working at it. I think it's because there's a desire to complete the sequence at four, but there's certainly a chord out there that could extend it further.
The progression doesn't covert to any numerical progression whatsoever and doesn't give it a valid key signature.
I've been trying to discover if there's some more "lax" rules that exist...the only rule so far I've come up with out of lots of experimentation is that you can never have more than one note that is out of key at any given time, successive out of key notes are not acceptable either. Chords are far more lenient...my assumption is that a lead can and must obey the given key signature unless it is over a particular chord with an off-key note, in which case it can use that note and solely that note at that time.
Just like the bassline really, which is providing movement inside of the harmonies.
For whatever reason breaking through and disobeying that theory is resulting in me coming across all of these progressions I've heard reznor and various other really famous artists use. And really, one listens to beethoven and you realize he's out of key almost consistently. I suppose they determine the "signature" of a particular song of his by determining which signature is used the most total. The reality is he was picking what sounded right and good..
Beethoven and mozart and gustav holst and bach and chopin...they were all masters, i really don't feel like there's been too many of them.
It's something I really aspire for. I'm not so interested in doing what everyone else is doing. Bleh. I don't even learn songs for performance...I'm only interested in playing with theory and making my own music...the only artists I even desire to attempt are classics...
Had another dream with another girl. It was sexually oriented for a little while and then all hell kinda broke loose. Not fun.
I really need a girlfriend. This loneliness stuff is getting so old.
Fact is, there's a hell of a lot more riveting stuff to be made when you simply disobey absolutely music theory. The only theory you need is what makes a chord a chord and deciding how you want to progress.
I've got a progression right now that I'd like to use. It's D Sharp Major, A Sharp Minor, C Sharp Major, G Sharp Major but voiced in peculiar ways. Trying to get beyond four chords is exceedingly difficult, although I'm going to keep working at it. I think it's because there's a desire to complete the sequence at four, but there's certainly a chord out there that could extend it further.
The progression doesn't covert to any numerical progression whatsoever and doesn't give it a valid key signature.
I've been trying to discover if there's some more "lax" rules that exist...the only rule so far I've come up with out of lots of experimentation is that you can never have more than one note that is out of key at any given time, successive out of key notes are not acceptable either. Chords are far more lenient...my assumption is that a lead can and must obey the given key signature unless it is over a particular chord with an off-key note, in which case it can use that note and solely that note at that time.
Just like the bassline really, which is providing movement inside of the harmonies.
For whatever reason breaking through and disobeying that theory is resulting in me coming across all of these progressions I've heard reznor and various other really famous artists use. And really, one listens to beethoven and you realize he's out of key almost consistently. I suppose they determine the "signature" of a particular song of his by determining which signature is used the most total. The reality is he was picking what sounded right and good..
Beethoven and mozart and gustav holst and bach and chopin...they were all masters, i really don't feel like there's been too many of them.
It's something I really aspire for. I'm not so interested in doing what everyone else is doing. Bleh. I don't even learn songs for performance...I'm only interested in playing with theory and making my own music...the only artists I even desire to attempt are classics...
Had another dream with another girl. It was sexually oriented for a little while and then all hell kinda broke loose. Not fun.
I really need a girlfriend. This loneliness stuff is getting so old.
