(http://www.traxinspace.com/pub/122623/44283_m.jpg)
http://soonlabel.com/a/Attachments/Mounlight.mp3
Posting for a So On associate - Zaphoid
This is all performed excepting percussion which was tracked in Buzz I believe.
I really like the guitar leads myself.
Count me in, Mr Uncloned. Indeed very nice guitar leads. And I like this mixture of e-guitar and synth sounds...
Nice work! :D
Thank you for the listen and comment Mr Eagle!
I see the artist has joined modplug forum so perhaps he will respond as well!
Eagle thank you for your comments. This forum looks nice. I think I'll stay awhile. :D
Welcome, Zaphoid !
Beauty piece. Percussion/drums maybe could have been spread more.
Emily did some artwork for this.
(http://soonlabel.com/a/Attachments/003zaphoid.jpg)
i-v-iv-III progression in the beginning as far as I can tell. After listening to it for a couple of seconds, I feared that the bass would not fit (due to assumed pitch discrepancies), but I was very wrong.
The next part sounded like it's based on i-VII-iv. I enjoyed the transition between the two progressions: simply letting the bass play the root, while there were some chord changes. Impressive guitar solo. I liked the subtle vibrato. There were also some details that contributed to a bit of a rough sound, which suited nicely, added intensity. Sounded like a combination of double stops and slides, I'm not completely sure.
The last, briefly emphasized movement with the bass still included sounded like i-iv-i-iv-VII approximately, but using the root note down an octave as base.
I barely paid attention to the percussion, come to think of it. It's not bad at all, but I just didn't notice it or focus much on it. It spices up the background, and I might have reacted if listening to a version without it (particularly after listening quite some times to this one in order to write about it).
I can't find anything to complain about regarding the sound.
In itself, I liked this track very much. Naturally, it would sound the same if included on an album. The only worry I am able to think of in such a context would have to be the potential of excess with respect to melodic, traditional tonalities. However, this is speculation, and I'll stop right here.
would I be correct in assuming you read sheet music?
if so I could possibly provide a pdf of something you are interested in analyzing.
I'm trying as often as I can to record midi.
Well if you would like to know it's in B minor which is relative to D major.
I'll use the Dmaj positions though.
Intro/First part
6 3 2 1
Bmb6|F#m|Em add9|D/F# (Dmaj with root on 3rd)
Bm7th|F#m|Em add9|D/F#
Chords in second part are as follows
6 6 5 2
Bmb6|Bm7th| A| em em add 9 |
6 5 Resolves
Bmb6 |(different voicing) Bm7th| A |A| A |A
Ending part is
6 2 6 2 6 5
Bmb6 em add9 em6th em bm7th em add9 em 6 bm 7th A
4
Then same prog but ends with a G
Of course Bmb6 suggests G and is sorta in between things and tricks the ear
Bm 7th suggests A
Em add 9 suggests F#
Em6th the C#
By playing with the Roots and picking smart octave cadence you do quite amazing things. Truthfully though I had to reanalyse this to explain what was going on theory wise. My ear sorta evolved this harmony over time. It's funny about Riffs though, I played the same riff over 4 times for the first go around and then when I finally changed with the progression it rewards the ear that much more. Even when the riff doesn't change the harmony behind colors over it slightly different. Simplicity Dontcha just love it!!!
But lastly your quite correct in your hypothesis of chord changes. If positions are adjusted to relative bm key of course :P I tend to think in the Maj keys even when I'm in the minor keys.
Quote from: "uncloned"would I be correct in assuming you read sheet music?
if so I could possibly provide a pdf of something you are interested in analyzing.
I'm trying as often as I can to record midi.
er for my music of course - I just figured you'd be back to this thread. :oops:
Zaphoid: I identified the core movements then, but there were many add6 extensions etc. which I weren't aware of.
Do you see what I mean regarding the details that contributed to a somewhat rough sound for parts of the guitar solo? Did you produce the effect by applying what I assumed?
not sure what you mean.
QuoteIntro/First part
6 3 2 1
Bmb6|F#m|Em add9|D/F# (Dmaj with root on 3rd)
Bm7th|F#m|Em add9|D/F#
I'm thinking this is working in part due to the F# pedal point being the common thread.
Quote
Of course Bmb6 suggests G and is sorta in between things and tricks the ear
Bm 7th suggests A
Em add 9 suggests F#
Em6th the C#
I can understand Bmb6 (b d f# g - an inverted G maj 7th) suggesting G
But how does Bm 7th suggest A? or Em 9th F# or Em 6th the C#?
I think I'm missing something in your thinking here.
bm 7th = B D F# (A)
Em add9 E G B (F#)
Em 6th E G B (C#)
By means of their harmonic content.
Quote
bm 7th = B D F# (A)
Em add9 E G B (F#)
Em 6th E G B (C#)
I'm even more confused then.
The Bm 7th is also an inversion of D (maj) 6th - and is missing E and C# to indicate A major
If you look at the harmonic content (if you meant overtones) then you get
B, B octave up, F# above that
D, D octave up, A above that
F#, F# octave up, C# above that
But those 12ths would be really faint compared to the root and are still an incomplete A triad.
I think there may be a difference in terminology?
oh good grief I'm getting a headache now. I learned theory on my own and terminology is not my bag. I use it as a backbone to start something and the rest I leave up to my own whims. I think that getting bogged down in the technical terms can kill the creative fires that mold original music. To discuss this further is a moot point. Lets move on.
What instrument do you play? How did you become so good at relative pitch? I couldn't have guessed all the progressions if I hadn't written it.