Music Ideas

Music Ideas

Theory

Tonality

compute cents from ratio:

log_2(x) = ln(x)/ln(2)
(press n in calc to get natural log)
c = 1200 log2(b/a)  where interval is a to b and c is cents
c = 1200(ln(b/a)/ln(2))
c = 1200 * ln(b/a) / 0.69314718055994530941723212145818
c = ln(b/a) * 1731.2340490667560888319096172023

example:

major 3rd: 5/4 => 386.314 cents

scordatura tuning
example: Camille Saint-Saëns - Danse Macabre

Rhythms

443 = 11
3343 = 13
4434 = 15
5552 = 17
5554  = 19
6664 = 22
6656 = 23
66643 = 25
55555 = 25
6668 = 26
66644 = 26
333344 = 26

3, 3, 5 => 11

“1 2 3, 1 2 3, 1 2 3, 4 5”

EX: As I Feel I Die by Caravan off If I Could Do It All Over Again…

Have synth arpeggios really faintly in the background (like in Replica off of Replica)

Melodic Structuring

Resolved notes all found in tonic 1 chord
Unresolved notes mostly found in dominant 5 chord

2-Chord Trick with Modes

Melodies and Chords get a modal feel from using the specific notes that are different in that mode. For example Dorian is exactly like minor but with a raised (natural) 6th, so to play in D Dorian, try

Dm (1 b3 5)
Em (1 b3 5 where 5 of E is the natural 6 of D) OR
G (1 3 5 where 3 of G is the natural 6 of D)

Vamping: Alternating between two chords. Better with bass note that stays the same and is common to both

Negative Harmony/Melody

I -> V ii -> IV iii -> ??? IV -> ii V -> I vi -> ??? vii b5 -> ???

Mixing

Read up on how to mix, how to balance instruments.

Simply put:

… but writing it down is way easier than mastering those skills.

Virtual Barbershop

Misc

George Russel - The Lydian Chromatic Concept of Tonal Organization

cross-relational enharmonically equivalent chromatic mediant predominant dominant tonic tritone functional harmony nonfunctional harmony diatonic seven chords harmonic rythm -> how fast the chords move in a song diatonic vs chromatic 4:3 apajatura upper extension triad motivic transormations rythmic diminution lietmotif

sus2 vs add11 or whatever

hyperlight drifter - A chorus of tongues

finding relationship between chords and modes e.g.: Dmaj7#11 -> D Lydian F#/E -> E Lydian

pedaltones

idea from hyperlight drifter song: play same 4-bar sequence but second time wait a full measure of silence then cut out half the rests from the last two measures.

Functional Harmony:

Tonic - Totally stable: don’t want to move anywhere Dominant - Unstable: want to move to another chord Predominant - Set up an unstable/dominant chord, neither fieling tense nor resolved

Cycle: predominant, dominant, tonic set up tension, create tension, release tension

tonic supertonic mediant subdominant dominant submediant leading note / leading tone tonic

Δ(M7) m7 m7 Δ(M7) 7 m7 Ø (m7b5) Δ9 m9 mb9 Δ9 9 m9 Øb9 Δ11 m11 m11 M#11 11 m11 Ø11 M13 m13 mb13 M13 13 mb13 Øb13 7add6 7add9 add2 add4 add6 6/9 ———————————– I ii iii IV V vi vii ——————————— 1 1 1 1 1 1 1 2 2 b2 2 2 2 b2 3 b3 b3 3 3 b3 b3 4 4 4 #4 4 4 4 5 5 5 5 5 5 b5 6 6 b6 6 6 b6 b6 7 b7 b7 7 b7 b7 b7 ———————————– 9 9 b9 9 9 9 b9 11 11 11 #11 11 11 11 13 13 b13 13 13 b13 b13

Ideas

Names