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Originally Posted by JimmyDunlop
Can’t do it all!
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03-21-2024 10:02 AM
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Originally Posted by JimmyDunlop
Yes, finding A way to harmonize a melody is not hard. That's what singer songwriters do (some better than others). In fact, must non musicians are good at whistling a harmonized line in realtime. I could harmonize melodies on piano as a kid without knowing any music. It's intrinsic to us. Any listener instantly knows if harmonization works or not. Exploring different reharmonizations of melodies is in itself an interesting subject also but perhaps more advanced. But none of these are what these threads are about.
When I talk about harmony, I'm interested in pragmatic applications of theory that I can use to inform my practice routine. Apparently some of it sounds like mumbo jumbo to some but I at least in my head they provide possible solutions to challenges I encounter in tunes. They provide, repeatable, systematic ways with which I can internalize different situations and explore ideas that allow me to hopefully transcend them. Again if you are not putting yourself in the shoes improvising jazz musician, I don't think you can have good insights into this process.Last edited by Tal_175; 03-21-2024 at 10:20 AM.
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Originally Posted by JimmyDunlop
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It is true that we don't talk about melody as much as harmony. But that's true for the whole (western) music literature. I guess there is a good reason for it. Melody is more complex than harmony. What can be formally characterized in the domain of melody (ornamentation, patterns, linear harmony etc) is only a very small part of the overall effect.
I'm all ears if anyone has good insights into a good melody that they can discuss on the forum.
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Originally Posted by Tal_175
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Originally Posted by Christian Miller
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Originally Posted by JimmyDunlop
Which is fine.
So I’m glad you’re arriving at a result you like, but other approaches are good too.
For what it’s worth, when I’m writing music, I ALWAYS come up with the melody (or maybe a bassline) first and chords come later. This is a both-and thing, not an either-or.
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Originally Posted by JimmyDunlop
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Originally Posted by JimmyDunlop
But it’s when you have intervals that move the same distance in the same direction. It makes the voices sound less independent.
A listener will usually experience this as an odd disruption of the texture. The theory helps the composer to recognize places where this disruption is likely to occur so that they’re better able to use it or avoid it as necessary.
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Originally Posted by JimmyDunlop
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Sorry but I cant really take that serious random opinion guys about this music, when is obsiously that these guys cant make something similar and has not the skills. Thats why I asked about this composition to a Cambridge scholar and phd professor. He didnt had to answer, why would he answer me? if he didnt like it, the easiest thing would have been to ignore my email.
he said:
"it reminds me more of Elgar's 'Pomp and Curcumstance' marches than anything else--which might be descibed as a late nineteenth-century orchestral vocabulary used in a distinctive manner. And the semi-autonomous movement of the bass line about half way through is rather Elgarian too. As far as I can tell from the Sibelius sound, the orchestration works okay but it would be nice to have more variation in the sense of wind instruments having a more independent role--but then marches do tend to be in tutti style domainted by the stings. Does that help at all? All best wishes, Nick
I obviously would place this opinion from a realexpert way above random people . You can like it or not, I dont expect random people to like it tbh. I care more about scholars or people with proven musical taste, like this man or Grisha Goryachev (one of the best guitar players in the world), who welcomed my compositions. That a scholar relates your work to probably the best English composer of all time, well its not bad I guess.
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Originally Posted by JimmyDunlop
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Originally Posted by JimmyDunlop
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Originally Posted by Tal_175
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Originally Posted by JimmyDunlop
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Originally Posted by James W
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It’s funny how people who complain about how tired and unhelpful it is to talk about theory almost invariably turn threads into conversations about themselves, their own playing, and their own idiosyncratic approaches.
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I never thought I’d say this, but Sweet Jesus can we please talk about modes again?
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Originally Posted by pamosmusic
I never liked the mode approach theory and yes I find it confusing, so I agree with the OP in that.
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Originally Posted by JimmyDunlop
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Originally Posted by Tal_175
idk I don’t really have a dog in this fight lol
I think JD would do well to get some lessons if he’s serious about developing his craft. But, you know, writing is the main thing. Well done JD! Right, back to modes.
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Originally Posted by pamosmusic
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To sum up this thread, may I suggest a (pissing) contest?
Let us all write a modal march.
Locrian.
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Phrygian Natural 3.
Ron Miller's Sunchild.
Music Starts at 1.05min
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So are you guys tired of arguing and resolving the discussion? I apparently got here late after the thread expanded 3 pages and was about to tell JD what's what about there's no method for melody, you don't need harmony, and everyone's a fake guru except him lol.
Originally Posted by djg
notating 7/4 and 4/7 chords
Today, 08:17 PM in Ear Training, Transcribing & Reading