I completed a bass track for my first 8 track song. I used a drum sequence to carry the beat. I wrote both clefts first.Yes . Then, wrote the drum sequence. I read/write sheet music. But, I had to learn drum sheet notations😮 It was really fun.
I had that exact harmonic march in a song I wrote when I was starting to study harmony but I used the monotony of repetition to my advantage. The first part was very dynamic flamboyant everywhere melodies and it climaxed to this part in a very consistent rhythmic way to stabilize the beat and strengthen the tempo
Very helpul - just making some features more explicit. One curiosity which I wondered about - and will have to explore - is the monotony "rule". If on this occasion we make the sequence four bars long [boring] we should be able to get from V to I - but is that essentially pointless as getting from V to I is normally straightforward anyway? Also if we think in phrase terms there can be some merit in having different lengths of phrases - for example in Beethoven's seventh there are passages where many people would imagine there are 3 x 4 bar phrases repeated, but actually they're not. They are 5 - 4 - 3, so it's possible that sometimes having a longer sequence might work in a larger structure. What I'm suggesting here is that sometimes a longer sequence or phrase might actually work in certain contexts.
Ferdinando Carrulli suggested, rather laconically, that a major scale descending is a minor scale, which implies that a (natural?) minor scale descending is a major scale. It helps to explain, I think, the "plaintive" in major tunes and the "pleasant" in minor tunes. Thanks again, Gareth. Slán. Austin.
@@MusicMattersGB of course, Carrulli could be saying that if a rising major 3rd were, say, 'active', a falling major 3rd would be 'passive', or if a rising minor 3rd were 'passive (because 'plaintive'), a falling minor 3rd would be 'active'. Again, a rising 4th 'active', or a rising 5th 'passive', etc. But I may be jumping to conclusions. Thanks again, Gareth. Slán. Austin
Maybe it has to do with rising a major 3rd from the root is in major scale. But falling a major 3rd from the root takes you to the minor 6th in minor scale.
Interesting. Felix Saltzer suggested in 'Structural Hearing '(1952)(Dover?) that we should be able to analyse formally in order to do so qualitatively. It would be interesting if the ideas were already there and, like Carulli, we just had to dig them out. Even so, we would still have to equate our 'evidence- based ' theory with music as an expression of emotional intelligence. So, good luck with the quest! Slán!@@123jkjk123
Thank you. This is yet another lesson where I'd been employing the technique but never really knew what I was doing. And isn't repeating sequences over and over the bread and butter of the minimalists (even though they often subtly shift rhythm and harmony)?
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I completed a bass track for my first 8 track song. I used a drum sequence to carry the beat. I wrote both clefts first.Yes . Then, wrote the drum sequence. I read/write sheet music. But, I had to learn drum sheet notations😮 It was really fun.
Excellent
Fantastic video, thank you very much Gareth!
A pleasure
Quite interesting in composing from simple idea❤
Glad it’s useful
I had that exact harmonic march in a song I wrote when I was starting to study harmony but I used the monotony of repetition to my advantage. The first part was very dynamic flamboyant everywhere melodies and it climaxed to this part in a very consistent rhythmic way to stabilize the beat and strengthen the tempo
Excellent
Thanks, I always learn something from your videos!
That’s great. Much more to help you at www.mmcourses.co.uk
Very helpul - just making some features more explicit.
One curiosity which I wondered about - and will have to explore - is the monotony "rule". If on this occasion we make the sequence four bars long [boring] we should be able to get from V to I - but is that essentially pointless as getting from V to I is normally straightforward anyway? Also if we think in phrase terms there can be some merit in having different lengths of phrases - for example in Beethoven's seventh there are passages where many people would imagine there are 3 x 4 bar phrases repeated, but actually they're not. They are 5 - 4 - 3, so it's possible that sometimes having a longer sequence might work in a larger structure.
What I'm suggesting here is that sometimes a longer sequence or phrase might actually work in certain contexts.
Absolutely. Context is everything
Good stuff!
Most kind.
Thank you so much for your clear and concise instruction 🙏🏼 I am so grateful.
A pleasure. Much more to help you at www.mmcourses.co.uk
@@MusicMattersGB I’ll check it out!
😀
Ferdinando Carrulli suggested, rather laconically, that a major scale descending is a minor scale, which implies that a (natural?) minor scale descending is a major scale. It helps to explain, I think, the "plaintive" in major tunes and the "pleasant" in minor tunes. Thanks again, Gareth. Slán. Austin.
An interesting perspective
@@MusicMattersGB of course, Carrulli could be saying that if a rising major 3rd were, say, 'active', a falling major 3rd would be 'passive', or if a rising minor 3rd were 'passive (because 'plaintive'), a falling minor 3rd would be 'active'. Again, a rising 4th 'active', or a rising 5th 'passive', etc. But I may be jumping to conclusions. Thanks again, Gareth. Slán. Austin
@austinmchale7232 Reasonable conclusions
Maybe it has to do with rising a major 3rd from the root is in major scale. But falling a major 3rd from the root takes you to the minor 6th in minor scale.
Interesting. Felix Saltzer suggested in 'Structural Hearing '(1952)(Dover?) that we should be able to analyse formally in order to do so qualitatively. It would be interesting if the ideas were already there and, like Carulli, we just had to dig them out. Even so, we would still have to equate our 'evidence- based ' theory with music as an expression of emotional intelligence. So, good luck with the quest! Slán!@@123jkjk123
These kind of basses are seen on Neapolitan manuscripts right?
It’s in Pachelbel’s Canon
😀
Thank you. This is yet another lesson where I'd been employing the technique but never really knew what I was doing. And isn't repeating sequences over and over the bread and butter of the minimalists (even though they often subtly shift rhythm and harmony)?
Absolutely
Good sense
😀
"...and that could be a danger." Let me present P.D.Q. Bach as Exhibit A.
Absolutely!
your bass line reminds me of the score to the classic horror movie The Shining.
😀
Both this and your six bar cannon were great for a beginner like me. 🙏
Glad it’s helpful. Much more at www.mmcourses.co.uk
Don't use this bass line unless you want to trigger the wrath of god!
😀