‘What do African rhythms, spallation neutron source (SNS) accelerators in nuclear physics, string theory (stringology) in computer science, and an ancient algorithm described by Euclid have in common? The short answer is: patterns distributed as evenly as possible. For the long answer please read on…‘
Posts Tagged ‘Theory’
Interactive Frequency Chart
March 27, 2012Interactive Frequency Chart – Independent Recording Network.
Very handy EQ reference.
Chord Formulas and ‘Feel’
February 23, 2012Where R=root note and the ascending numbers are semitone intervals. 7th note extensions in parenthesis.
| Chord | Formula | ‘Feel’ |
| Semitone | Root+1 | Suspenseful, threatening |
| 5th | R+7 | Solid, ‘power chord’ |
| Major | R+4+3(+3) | complacent, satisfied, optimistic |
| Minor | R+3+4(+3) | Sad (but not always) |
| 7th | R+4+3+4 | Tough, bluesey jazzy rocky |
| Major 7th | R+4+3+4 | Happy, almost jazzy |
| Minor 7th | R+3+4+3 | Airy, melancholy, ‘Not quite’ sad |
| Min/Maj 7th | R+3+4+4 | Softer still |
| Augmented | R+4+4*(+3) | Blues, country, jazz |
| Diminished | R+3+3*(+3) | Classical, jazz, gospel |
| Sus2 | R+2+5 | ‘Open’ sound , hanging there |
| Sus4 | R+5+2 | As above |
| Major 9th | R+3+3+3+4 | Open, soaring, airy |
| 9th (dom 9th) | R+4+3+3+4 | Open, soaring, airy |
| m9th | R+3+7+10+14 | Tragic, hopeless |
| 6th | R+4+3+2 | Jazzy-bossa playfulness |
| m6 | R+3+7+9 | Suspenseful, mysterious |
To find the desired chord on the keyboard: Place a finger on the root note, count-up the semitones to the next position, place your finger and count-up again for the next position, etc. Example: A Maj7th = R+4-3-4 = A – Csharp – E – Gsharp.
To find the first inversion of any chord, take your finger off the root and place it on the note one octave above (in our example, still an A, just an octave higher).
To find the second inversion, move your lowest finger up to the next available note in the chord.
This way you can cycle up and down the keyboard, in the process using the same notes – = A – Csharp – E – Gsharp in different order.
The Role of the Bass Line
March 7, 2011In almost all musical forms, the bass has two important functions to fulfill. First, the bass defines the chords being played and guides the movement of the music from one chord to another. This role is usually shared with a guitar or a piano. Second, the bass provides the rhythm of the music being played. This role is usually shared with the drums. Because it links the two functions of rhythm and harmony, the bass is often the instrument around which the rest of the music is organized.
via Bass Lesson. Part 2 – The Role of the Bass Line | Lessons @ Ultimate-Guitar.Com
Emotion in musical keys
February 28, 2011In a general way of course, but dig the flowery language.
Mixolydian scales
February 27, 2011The mixolydian scale contains all four notes of the seventh chord (1-3-5-b7). The additional tones are scale degree two, scale-degree four, and scale-degree six. Scale-degree [b]seven is the most characteristic tone of the mixolydian scale, and uniquely identifies mixolydian. The basic quality of mixolydian is major.
How To Play Funk Bass (beginners)
February 27, 2011Bass Lessons: How To Play Funk (for Beginners)
Nice!
I’ve been bashing away on the Pulse this morning. Hooked-up to the X-station I have full hands-on control of most parameters, making for a great playing experience.
I just need to practice playing-in those minimal-but-interesting bass grooves.
Using Thesys also to sequence the Pulse, with some interesting results (but only after a lot of experimentation).
programming dance beats that push? – Gearslutz.com
February 13, 2011The Musician and the Metronome
January 27, 2011http://www.franzmfg.com/book1.htm
…came across this useful online book.
Effective Drum Programming
January 26, 2011Effective Drum Programming parts 1-4
from Soundonsound.
Blackdown: offbeat eighths and all that jazz
January 21, 2011Decent tips on hi-hat drum programming and swing here:
Common swings settings for drum programming in different styles
January 21, 2011Hip-hop: MPC 55 to 59-percent shuffle
R&B: MPC 61-percent shuffle
Break beat: MPC 57- to 62-percent shuffle
Two-step: MPC 65 to 69-percent shuffle
Drum and bass: Kick and snare 55- to 61-percent shuffle; hi-hat 60- to 63-percent shuffle
Florida breaks: 55-percent shuffle
Gleaned from: emusician
NoisyLittleBugger 