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 Balmy Blizzard 
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Post Re: Balmy Blizzard
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3rds, we get F A C D E G, or Fmaj7(9, 13).


Whoops, that should be D F A C E G or Dm7(9), but with the F on bottom it will more heavily imply an Fmaj tonality depending on whether or not the other core chord tones (A, C and E) are placed on strong beats or weak beats.

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Tue Feb 20, 2018 1:00 pm
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Post Re: Balmy Blizzard
Micro-harmonies usually refer to applying the notes between the standard half steps. If you played a fretless instrument there are infinite notes between C and Db.
As you arpeggiate these chords, the interval placements are what's creating the interesting harmonies .
i.e. ACEBD is an Ami9/11 but it's also a cluster of 5 consecutive notes if you rearrange the order to ABCDE..
It might be prudent to discuss how you discovered some of these harmonies through our lesson explorations, the logic versus, trial and error.
The Stick is strongest as a harmonic canvas. You're aggressively unlocking some cool concepts
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Tue Feb 20, 2018 1:20 pm
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Post Re: Balmy Blizzard
Josh, see attachment for what I meant. I meant notes, not chords. Pardon my imperfect documentation

Attachment:
Harmonic Example.pdf


Well, Steve, I didn't want to give your lessons away for free, nor did I want to misrepresent them with my coloured interpretation.

The first section stems from scalar theory applied to the 4ths/5ths tuning of the stick. If we consider a key such as C major and play a C in the 7th position of a 1 5 7 shape in the right hand on strings 1,2& 3, we can move over one or two strings and still be in the key. At the same time, we can choose any chord in the key in the left-hand to play over. I used this as a prelude to a melody. This "harmonic motion" seems in-line with what I am trying to get at (thanks for bearing with me, guys!).

The first bit was inspired by hearing ABCDE and hearing the tension the C can cause with the D and the F#. I second guessed the F# and tried F natural. No good. The second pass modulating up a string was a happy accident with tension on the C and B together. It fits the lesson though, because it is the case of having moved one string. and the original is moving 2.

The second bit is using stacked 5ths to prepare a G679 with the G7 in the LH and the 369 in the RH followed by a D9 with root+3 in the LH and 159 in the RH. The G7 uses the F natural whereas the F is sharp the rest of the time, so I borrowed from another scale momentarily. This was a subconscious effort relating to a video and a lesson discussing borrowing chords from related keys, as well as other lessons about loving 679.

The third bit is playing chords with spaces in between. This leads to D9, C9, C#11, Bb 9,11 and Am. I originally wrote this without moving the CDE in the right hand, but was given feedback about it being a bit too static. So I listened to how moving it keeping the notes on the same fret sounded. Sometimes it didn't work, so I modified it to keep the lowest two notes put and move the highest one creating an octave, but also melodic motion.

I wrap up with hand-over-hand pull offs D, C9, G, Em and D. The lesson had this idea with different chords. I picked these ones based on mechanics and sound.

I cannot say how thankful I am we can have these detailed conversations on theory and composition!

As I said before, I may have to read this thread many times for comprehension.


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Tue Feb 20, 2018 6:28 pm
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Post Re: Balmy Blizzard
Ah I see, very cool and thank you for sharing.

And yeah, this is some of my favorite stuff to talk about, so thanks for initiating the conversation! Everyone's responses have been quite enlightening.

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Tue Feb 20, 2018 6:42 pm
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Post Re: Balmy Blizzard
I think that sometimes, folks will occasionally over-complicate things that are actually pretty simple. :D

The score never lies, I took a good look at what you wrote down, played it a few times and I thought I might offer a different viewpoint. I didn't score or play what you did in the video, I just took a look at the PDF you shared, I thought it might be fun to discuss. I know that the Stick community thinks I'm a clown, but take a look - think about it a bit, it might make some sense. Just some thoughts... remember, I'm nobody.

1) I would say this is in 2/4 time, as 4/4 time has 8 8th notes in it. Hehe gotta understand time first and foremost.

2) the first chord that you have written, is as an 'A' major. That would be an AC#E and possibly an extended 7th -G#. BUT the key signature is D major... two sharps F# and C#. This insinuates the key of D major, So really, that 'A' could really be an A7 (v7 of I in Dmajor). But... how do we know it's an A Major? Looks like an A5 to me... (Root and 5th)

3) the next chord is a C Major. AND... the only accidental that shows up in the score is an F#. AND... Amin C D7 Amin is very, very common. And much closer to what is being implied by the notes written. SO...

4) the melody (and bass) notes over your first chord could very, very easily also be an A Minor, (does atomic to G major - 1 sharp - F#) especially based on the fact that the melody and the bass line of the entire riff jives with a key signature of 1 sharp - F#. What's easier to write? A key signature where you are constantly having to insert a natural on a chord progression, plus the notes use literally only one of the sharps presented in the key signature.


Think about it, literally the only thing making that chord an A Major is the 'A' you wrote over top of it. If I play what is written in the score, that A is "genderless". No 3rd. Based on the relationship the melody and your bassline has with the other chords, maybe a clearer understanding of key signatures and basic diatonic harmony could help one see things more for what they really are...


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Tue Feb 20, 2018 9:22 pm
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Post Re: Balmy Blizzard
Scott,

The main person who insists you are a clown is you. You just happen to give more insight to your process than most, whereas many people wait for a more finished good. Remember how many people and which people submitted to your fusion exercise.

Well first off, I wrote it wrong. The last melody note of the repeated phrase was supposed to be a C#. My bad. I also didn't write naturals on the LH Cs on the C chord. I was rushing it. So with the note being sharp and natural in the progression, I felt it more in 2 sharps.

Secondly, you might be right about the time signature. I thought the recording was in 12/8 but Steve called it 6/8 as well.

My point with the written example was how the D and F# can imply a D chord on the first 2 passes or on the third pass can lead into defining a Gmaj7.

So yes, the first A chord is genderless being only an A5. With the ending note as a C# instead of an A on the melody, it is more clearly defined as A major than A minor. Had I written it correctly that could have been seen.

I see what you mean about the Aminor extension ACEG.

Thanks for your thoughts!

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Wed Feb 21, 2018 5:20 am
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Post Re: Balmy Blizzard
:D Hey, it's all good right? We're discussing music - that's the important thing. Even better, we're discussing YOUR music which is always fun.

Different people interpret things differently. And that's okay... 6/8 or 12/8? Or is it 4/4 with triplets? Or 3/4 with triplets? Or 2/4 with triplets... kind of depends on the accent and how one hears the placement of the bar line really. And like key signatures (One wants to write in Cb major instead of B Major? Go for it! I'm sure one can find tons of justification as to why Cb major and not B Major) there is always a way to write the same thing differently.

Lol plus, I am as guilty as anyone when it comes to making the odd error in my scores!

My point is that I think we can get the idea across one way or the other. Call it whatever you like, give it any naming convention you like, we'll take a listen and be like "yeah, that's cool! I would have called it_______, but it's good."

Keep on posting your stuff my man, I will always listen and try to drop a comment.

As far as clowns go, all good my man. haha Just saying not to take me too seriously, I like talking about music...

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Wed Feb 21, 2018 6:15 pm
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