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Thread: In Flames and Melodic Metal

  1. #61
    Latin Wedding Band Los Boleros's Avatar
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    Yes, the 15 is the tonic, two octaves up
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  2. #62
    Latin Wedding Band Los Boleros's Avatar
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    Here is an excersise to help you with your skips. It is based on A minor or C Major scale. Any three notes from this pattern in a row represent a triad. Any four notes in a row represent a seventh chord.
    Code:
    I-----------------3-5----------------5-----------------8-------------
    I---------------5------------------6--------------6-10---------------
    I-------------5----------------4-7--------------7--------------------
    I---------3-7----------------5--------------5-9----------------------
    I-------5----------------3-7--------------7--------------------------
    I---3-7----------------5--------------5-8----------------------------
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  3. #63
    Registered User Necromortis's Avatar
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    Well, they sure as hell aren't supposed to sound good. I just was trying to get my understanding across. I don't think I'd ever actually write a melody like that

    Anyway, on to harmonizing the line:

    | III-VI-IX-V | VII-IX-III-VIII | IX-IX-V-III |

    Ok, so now the line is harmonized. I'd say that this line is in the gray-area of whether it's ok or not. It starts on a III and ends on the III, and that's good, but in the first measure, the second downbeat is a 9th, which I gather is not entireily good. However, in the second measure, the downbeats are a seventh and third, which is good. But, in the last measure, the downbeats are a ninth and a fifth, which is half good...

    So I'd keep it harmonized because it sticks to the rules pretty well, just not perfectly.

    Right?
    It's my ever present curse,
    It's the hell I must endure.

    -Excerpt of 'Breaking Point'

  4. #64
    Registered User Necromortis's Avatar
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    Thanks for the exercise
    It's my ever present curse,
    It's the hell I must endure.

    -Excerpt of 'Breaking Point'

  5. #65
    Latin Wedding Band Los Boleros's Avatar
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    Quote Originally Posted by Necromortis
    Well, they sure as hell aren't supposed to sound good. I just was trying to get my understanding across. I don't think I'd ever actually write a melody like that

    Anyway, on to harmonizing the line:

    | III-VI-IX-V | VII-IX-III-VIII | IX-IX-V-III |

    Ok, so now the line is harmonized. I'd say that this line is in the gray-area of whether it's ok or not. It starts on a III and ends on the III, and that's good, but in the first measure, the second downbeat is a 9th, which I gather is not entireily good. However, in the second measure, the downbeats are a seventh and third, which is good. But, in the last measure, the downbeats are a ninth and a fifth, which is half good...

    So I'd keep it harmonized because it sticks to the rules pretty well, just not perfectly.

    Right?
    There really is nothing wrong with starting on a 9 or 11 or even with having them on the strong beats either. The difference is that your melody will have more tention that way which needs to be resolved. You melody is a dance between tention and resolution. A melody that is too melodious can be boring too! You need to have some conflict for the outcome to sound better. It is only important that you know how to do it, That's why I teach it. That way you are more in control of tention and resolution.
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  6. #66
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    :| III-VI-IX-V | VII-IX-III-VIII | IX-IX-V-III |

    You did well on this.
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  7. #67
    Registered User Necromortis's Avatar
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    So because the harmonized melody resolved on a III, the tension was resolved and everything was good?
    It's my ever present curse,
    It's the hell I must endure.

    -Excerpt of 'Breaking Point'

  8. #68
    Latin Wedding Band Los Boleros's Avatar
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    Yes, it is fine.

    Quote Originally Posted by Los Boleros
    :| III-VI-IX-V | VII-IX-III-VIII | IX-IX-V-III |

    You did well on this.
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  9. #69
    Registered User Necromortis's Avatar
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    Thanks. With the Roman Numerals, it's pretty easy. Just add two...
    It's my ever present curse,
    It's the hell I must endure.

    -Excerpt of 'Breaking Point'

  10. #70
    Latin Wedding Band Los Boleros's Avatar
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    Now let me take you back to a previous example.

    This example goes over two chords, E7-Am

    G#,A,B,G#,A,B,C

    The first four notes (G#,A,B,G#) go over the E7
    The last three notes (A,B,C) go over the Am

    looks like this:
    Code:
    Melody
    |-----------------------
    |-----------------------
    |------4------4-5------
    |--6-7---6-7-------------
    |--------------------------
    |--------------------------
    Code:
    Harmony a third above
    |-----------------------
    |---------------5-------
    |--4-5-7-4-5-7---------
    |------------------------
    |--------------------------
    |--------------------------
    can you come up with a harmony above this? either write out tab or the notes. See what you come up with.
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  11. #71
    Latin Wedding Band Los Boleros's Avatar
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    Here is the whole scale. A harmonic minor (starting on the E)

    E,F,G#,A,B,C,D
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  12. #72
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    Let me put it this way:


    If the first melody is

    G#,A,B,G#,A,B,C

    then the next harmony is what?

    And the one after that is what?

    Use the scale above.
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  13. #73
    Registered User Necromortis's Avatar
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    Hmmm, sorry I took so long, I didn't see your posts.

    Ok, the two lines are:

    B-C-D-B-C-D-E

    and then:

    D-E-F-D-E-F-G#

  14. #74
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    Quote Originally Posted by Necromortis
    Hmmm, sorry I took so long, I didn't see your posts.

    Ok, the two lines are:

    B-C-D-B-C-D-E

    and then:

    D-E-F-D-E-F-G#
    Perfect. You have just come up with your three part harmony in parralel thirds. By the way, this is also prohibited in Counterpoint but don't let that bother you. This is done in music all the time and it can sound good.
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  15. #75
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    For a two part harmony,

    you can use:
    G#,A,B,G#,A,B,C
    B-C-D-B-C-D-E

    or you can use:
    B-C-D-B-C-D-E
    D-E-F-D-E-F-G#

    The three part harmony would be:
    G#,A,B,G#,A,B,C
    B-C-D-B-C-D-E
    D-E-F-D-E-F-G#
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