In harmony: key or the flow?
I couldn't give any better title then this, sorry. ^^
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key and if I want to change the key then make it subtle.
But today I tried to create harmony lines which doesnt have a center key, just using enharmonic chords.
For example Chords: D -> F#m -> A -> C#m -> C#
Notes: DF#A -> F#AC# -> AC#E -> C#EG# -> C#FG#...And so on, it can be written forever. It sound good in my ambient context at least, because my role is to create space and not to show way (from A to B), but I want to know if I do something which has a name or theory behind it.
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
I searched but I didnt find any written/spoken material about this topic.
Its very interesting and I want to know more about this approach.
Could you help me? Thanks in advance.
harmony enharmonics
add a comment |
I couldn't give any better title then this, sorry. ^^
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key and if I want to change the key then make it subtle.
But today I tried to create harmony lines which doesnt have a center key, just using enharmonic chords.
For example Chords: D -> F#m -> A -> C#m -> C#
Notes: DF#A -> F#AC# -> AC#E -> C#EG# -> C#FG#...And so on, it can be written forever. It sound good in my ambient context at least, because my role is to create space and not to show way (from A to B), but I want to know if I do something which has a name or theory behind it.
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
I searched but I didnt find any written/spoken material about this topic.
Its very interesting and I want to know more about this approach.
Could you help me? Thanks in advance.
harmony enharmonics
What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago
add a comment |
I couldn't give any better title then this, sorry. ^^
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key and if I want to change the key then make it subtle.
But today I tried to create harmony lines which doesnt have a center key, just using enharmonic chords.
For example Chords: D -> F#m -> A -> C#m -> C#
Notes: DF#A -> F#AC# -> AC#E -> C#EG# -> C#FG#...And so on, it can be written forever. It sound good in my ambient context at least, because my role is to create space and not to show way (from A to B), but I want to know if I do something which has a name or theory behind it.
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
I searched but I didnt find any written/spoken material about this topic.
Its very interesting and I want to know more about this approach.
Could you help me? Thanks in advance.
harmony enharmonics
I couldn't give any better title then this, sorry. ^^
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key and if I want to change the key then make it subtle.
But today I tried to create harmony lines which doesnt have a center key, just using enharmonic chords.
For example Chords: D -> F#m -> A -> C#m -> C#
Notes: DF#A -> F#AC# -> AC#E -> C#EG# -> C#FG#...And so on, it can be written forever. It sound good in my ambient context at least, because my role is to create space and not to show way (from A to B), but I want to know if I do something which has a name or theory behind it.
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
I searched but I didnt find any written/spoken material about this topic.
Its very interesting and I want to know more about this approach.
Could you help me? Thanks in advance.
harmony enharmonics
harmony enharmonics
edited 8 hours ago
Gery
asked 9 hours ago
GeryGery
304
304
What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago
add a comment |
What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago
What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago
add a comment |
4 Answers
4
active
oldest
votes
You do not have to analyze music using Roman numeral analysis.
Some music - Impressionism like Debussy - does not fit neatly into Roman numeral analysis.
Two common harmonic devices that often don't fit Roman numeral analysis are:
- chromatic mediants
- chord planing.
A chromatic mediant example would be like D
minor to Bb
minor. The Roman numeral analysis would be bvi
but the important thing is that isn't one of the usual chords in minor. You can read more about chromatic mediants at Wikipedia.
Chord planing is when you use one chord type and just move it in parallel fashion. In your example C#
major to D
is a kind of planing, but usually you would have the parallel motion move more than just one step. When the motion involves only two chords by a halfstep as in your example you might describe it as a kind of appoggiatura chord.
Back to your example: D F#m A C#m C#
All but the last C#
major fit into the key signature for A
major where the first four chords would be A: IV vi I iii
.
But then some might think it clever to say it fits into F#
minor as F#m: VI i III v V
The problem with both - or any other attempt to label "the key" - is the harmony doesn't do anything to actually confirm a key. Specifically there isn't a cadence.
I think the important thing about the progression is that it moves mostly by ascending thirds. In the tonal major/minor key system that is a weak progression. By "weak" it really means not a strong way to define a clear key. It doesn't mean bad harmony. This kind of harmony can have a very gentle flowing feel that would not be found in music like Haydn's, but would seem to work well with ambient.
You might think of this kind of harmony as anti-cadential because it seems to avoid cadential patterns. But if you consider that a cadence functions to stop the flow of the music, it makes sense to take an anti-cadential direction in ambient music where you want the music to sort of float endlessly.
It may help to think in terms of diatonic harmony versus being in a key. You can select chords from a key signature like A
major without formally being in the key of A. You might look into modern modal music or pan-diatonicism to get an idea of how that can work.
I sense you are already on the right track. You don't need to formally define a key. You do not need to approach harmony with only Roman numeral analysis. Try reading up on the modernists of the 20th century like Debussy, Ravel, Bartok, Stravinsky, Hindemith, Poulenc, Milhaud, etc. Stylistically some of that music is brutal and not at all like ambient, but it will give you a whole new set of analytically terminology to use when approaching your own music.
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
add a comment |
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
Yes, music can be written in a wide variety of ways, and functional harmony is just one. As Todd Wilcox pointed out in his comment, a full explanation of keys, chords, and the various ways of moving between them is outside the scope of this forum.
What you are doing could be described as a type of "process music" - that is, you are coming up with a process for composition and allowing that process to play out. In your case, you are moving through chords by allowing one voice to move step-wise.
Some other terms you may want to research are "non-functional harmony" and "voice-leading."
Your process also sounds a bit like "Neo-Reimannian Theory," which is very complicated, but this video does a good job of trying to explain it:
add a comment |
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key
In some ways, I might think that would be the least promising approach to
creating ambient music!
Using chords diatonic to a key is likely to create typical tensions and resolutions that will grab listeners' attention and give the music a sense of driving forward. Very often, of course, that's what you want - except for when making ambient music!
(I do recognise that there are different styles within ambient, and that statement may be more applicable to some of those subgenres than others - and I don't mean to assume that you've been unsuccessful!)
As you've mentioned "just the motion of the notes", one approach you might want to look at is polyphony - a type of texture arising from simultaneous melodic lines. It's actually an older tradition than that of thinking in terms of block chords.
It's also very common for ambient music to be based more or less around a single chord for a whole piece, perhaps just moving the odd note here and there to create variations on the tonality.
Many ambient pieces use delay and reverb to cause interesting evolving concords and discords which wouldn't be apparent from looking at a score of the 'played' notes.
Another common ambient technique is to exploring the line between timbre and harmony, and the way that the motion of the harmonics in a sustained note can create changes in the quality of the sonority produced. Or to put it another way - hold down a couple of notes and muck around with the knobs on the synth!
add a comment |
The change of the last 2 chords is the change between the relative chords C#m - C#. The preceding prgogression could be considered as a chain of 4 third related chords round the center of A:
IV - vi - I - iii - (V)
This is not so usual then the opposite direction:
iii - I - vi - IV
If you did continue the principle of third relation
the progression would be:
D -> F#m -> A -> C#m -> E -> G#mb5 -> Bm -> D
Is this what you mean?
add a comment |
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4 Answers
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active
oldest
votes
4 Answers
4
active
oldest
votes
active
oldest
votes
active
oldest
votes
You do not have to analyze music using Roman numeral analysis.
Some music - Impressionism like Debussy - does not fit neatly into Roman numeral analysis.
Two common harmonic devices that often don't fit Roman numeral analysis are:
- chromatic mediants
- chord planing.
A chromatic mediant example would be like D
minor to Bb
minor. The Roman numeral analysis would be bvi
but the important thing is that isn't one of the usual chords in minor. You can read more about chromatic mediants at Wikipedia.
Chord planing is when you use one chord type and just move it in parallel fashion. In your example C#
major to D
is a kind of planing, but usually you would have the parallel motion move more than just one step. When the motion involves only two chords by a halfstep as in your example you might describe it as a kind of appoggiatura chord.
Back to your example: D F#m A C#m C#
All but the last C#
major fit into the key signature for A
major where the first four chords would be A: IV vi I iii
.
But then some might think it clever to say it fits into F#
minor as F#m: VI i III v V
The problem with both - or any other attempt to label "the key" - is the harmony doesn't do anything to actually confirm a key. Specifically there isn't a cadence.
I think the important thing about the progression is that it moves mostly by ascending thirds. In the tonal major/minor key system that is a weak progression. By "weak" it really means not a strong way to define a clear key. It doesn't mean bad harmony. This kind of harmony can have a very gentle flowing feel that would not be found in music like Haydn's, but would seem to work well with ambient.
You might think of this kind of harmony as anti-cadential because it seems to avoid cadential patterns. But if you consider that a cadence functions to stop the flow of the music, it makes sense to take an anti-cadential direction in ambient music where you want the music to sort of float endlessly.
It may help to think in terms of diatonic harmony versus being in a key. You can select chords from a key signature like A
major without formally being in the key of A. You might look into modern modal music or pan-diatonicism to get an idea of how that can work.
I sense you are already on the right track. You don't need to formally define a key. You do not need to approach harmony with only Roman numeral analysis. Try reading up on the modernists of the 20th century like Debussy, Ravel, Bartok, Stravinsky, Hindemith, Poulenc, Milhaud, etc. Stylistically some of that music is brutal and not at all like ambient, but it will give you a whole new set of analytically terminology to use when approaching your own music.
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
add a comment |
You do not have to analyze music using Roman numeral analysis.
Some music - Impressionism like Debussy - does not fit neatly into Roman numeral analysis.
Two common harmonic devices that often don't fit Roman numeral analysis are:
- chromatic mediants
- chord planing.
A chromatic mediant example would be like D
minor to Bb
minor. The Roman numeral analysis would be bvi
but the important thing is that isn't one of the usual chords in minor. You can read more about chromatic mediants at Wikipedia.
Chord planing is when you use one chord type and just move it in parallel fashion. In your example C#
major to D
is a kind of planing, but usually you would have the parallel motion move more than just one step. When the motion involves only two chords by a halfstep as in your example you might describe it as a kind of appoggiatura chord.
Back to your example: D F#m A C#m C#
All but the last C#
major fit into the key signature for A
major where the first four chords would be A: IV vi I iii
.
But then some might think it clever to say it fits into F#
minor as F#m: VI i III v V
The problem with both - or any other attempt to label "the key" - is the harmony doesn't do anything to actually confirm a key. Specifically there isn't a cadence.
I think the important thing about the progression is that it moves mostly by ascending thirds. In the tonal major/minor key system that is a weak progression. By "weak" it really means not a strong way to define a clear key. It doesn't mean bad harmony. This kind of harmony can have a very gentle flowing feel that would not be found in music like Haydn's, but would seem to work well with ambient.
You might think of this kind of harmony as anti-cadential because it seems to avoid cadential patterns. But if you consider that a cadence functions to stop the flow of the music, it makes sense to take an anti-cadential direction in ambient music where you want the music to sort of float endlessly.
It may help to think in terms of diatonic harmony versus being in a key. You can select chords from a key signature like A
major without formally being in the key of A. You might look into modern modal music or pan-diatonicism to get an idea of how that can work.
I sense you are already on the right track. You don't need to formally define a key. You do not need to approach harmony with only Roman numeral analysis. Try reading up on the modernists of the 20th century like Debussy, Ravel, Bartok, Stravinsky, Hindemith, Poulenc, Milhaud, etc. Stylistically some of that music is brutal and not at all like ambient, but it will give you a whole new set of analytically terminology to use when approaching your own music.
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
add a comment |
You do not have to analyze music using Roman numeral analysis.
Some music - Impressionism like Debussy - does not fit neatly into Roman numeral analysis.
Two common harmonic devices that often don't fit Roman numeral analysis are:
- chromatic mediants
- chord planing.
A chromatic mediant example would be like D
minor to Bb
minor. The Roman numeral analysis would be bvi
but the important thing is that isn't one of the usual chords in minor. You can read more about chromatic mediants at Wikipedia.
Chord planing is when you use one chord type and just move it in parallel fashion. In your example C#
major to D
is a kind of planing, but usually you would have the parallel motion move more than just one step. When the motion involves only two chords by a halfstep as in your example you might describe it as a kind of appoggiatura chord.
Back to your example: D F#m A C#m C#
All but the last C#
major fit into the key signature for A
major where the first four chords would be A: IV vi I iii
.
But then some might think it clever to say it fits into F#
minor as F#m: VI i III v V
The problem with both - or any other attempt to label "the key" - is the harmony doesn't do anything to actually confirm a key. Specifically there isn't a cadence.
I think the important thing about the progression is that it moves mostly by ascending thirds. In the tonal major/minor key system that is a weak progression. By "weak" it really means not a strong way to define a clear key. It doesn't mean bad harmony. This kind of harmony can have a very gentle flowing feel that would not be found in music like Haydn's, but would seem to work well with ambient.
You might think of this kind of harmony as anti-cadential because it seems to avoid cadential patterns. But if you consider that a cadence functions to stop the flow of the music, it makes sense to take an anti-cadential direction in ambient music where you want the music to sort of float endlessly.
It may help to think in terms of diatonic harmony versus being in a key. You can select chords from a key signature like A
major without formally being in the key of A. You might look into modern modal music or pan-diatonicism to get an idea of how that can work.
I sense you are already on the right track. You don't need to formally define a key. You do not need to approach harmony with only Roman numeral analysis. Try reading up on the modernists of the 20th century like Debussy, Ravel, Bartok, Stravinsky, Hindemith, Poulenc, Milhaud, etc. Stylistically some of that music is brutal and not at all like ambient, but it will give you a whole new set of analytically terminology to use when approaching your own music.
You do not have to analyze music using Roman numeral analysis.
Some music - Impressionism like Debussy - does not fit neatly into Roman numeral analysis.
Two common harmonic devices that often don't fit Roman numeral analysis are:
- chromatic mediants
- chord planing.
A chromatic mediant example would be like D
minor to Bb
minor. The Roman numeral analysis would be bvi
but the important thing is that isn't one of the usual chords in minor. You can read more about chromatic mediants at Wikipedia.
Chord planing is when you use one chord type and just move it in parallel fashion. In your example C#
major to D
is a kind of planing, but usually you would have the parallel motion move more than just one step. When the motion involves only two chords by a halfstep as in your example you might describe it as a kind of appoggiatura chord.
Back to your example: D F#m A C#m C#
All but the last C#
major fit into the key signature for A
major where the first four chords would be A: IV vi I iii
.
But then some might think it clever to say it fits into F#
minor as F#m: VI i III v V
The problem with both - or any other attempt to label "the key" - is the harmony doesn't do anything to actually confirm a key. Specifically there isn't a cadence.
I think the important thing about the progression is that it moves mostly by ascending thirds. In the tonal major/minor key system that is a weak progression. By "weak" it really means not a strong way to define a clear key. It doesn't mean bad harmony. This kind of harmony can have a very gentle flowing feel that would not be found in music like Haydn's, but would seem to work well with ambient.
You might think of this kind of harmony as anti-cadential because it seems to avoid cadential patterns. But if you consider that a cadence functions to stop the flow of the music, it makes sense to take an anti-cadential direction in ambient music where you want the music to sort of float endlessly.
It may help to think in terms of diatonic harmony versus being in a key. You can select chords from a key signature like A
major without formally being in the key of A. You might look into modern modal music or pan-diatonicism to get an idea of how that can work.
I sense you are already on the right track. You don't need to formally define a key. You do not need to approach harmony with only Roman numeral analysis. Try reading up on the modernists of the 20th century like Debussy, Ravel, Bartok, Stravinsky, Hindemith, Poulenc, Milhaud, etc. Stylistically some of that music is brutal and not at all like ambient, but it will give you a whole new set of analytically terminology to use when approaching your own music.
edited 6 hours ago
answered 7 hours ago
Michael CurtisMichael Curtis
8,284531
8,284531
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
add a comment |
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
I think you mean "chord planing" instead of planning.
– Peter
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
@Peter, indeed! Misspelling. I corrected my post. Thanks.
– Michael Curtis
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
Did I won the lottery? Because I feel myself like a millionare ^^ Thanks :)
– Gery
6 hours ago
add a comment |
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
Yes, music can be written in a wide variety of ways, and functional harmony is just one. As Todd Wilcox pointed out in his comment, a full explanation of keys, chords, and the various ways of moving between them is outside the scope of this forum.
What you are doing could be described as a type of "process music" - that is, you are coming up with a process for composition and allowing that process to play out. In your case, you are moving through chords by allowing one voice to move step-wise.
Some other terms you may want to research are "non-functional harmony" and "voice-leading."
Your process also sounds a bit like "Neo-Reimannian Theory," which is very complicated, but this video does a good job of trying to explain it:
add a comment |
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
Yes, music can be written in a wide variety of ways, and functional harmony is just one. As Todd Wilcox pointed out in his comment, a full explanation of keys, chords, and the various ways of moving between them is outside the scope of this forum.
What you are doing could be described as a type of "process music" - that is, you are coming up with a process for composition and allowing that process to play out. In your case, you are moving through chords by allowing one voice to move step-wise.
Some other terms you may want to research are "non-functional harmony" and "voice-leading."
Your process also sounds a bit like "Neo-Reimannian Theory," which is very complicated, but this video does a good job of trying to explain it:
add a comment |
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
Yes, music can be written in a wide variety of ways, and functional harmony is just one. As Todd Wilcox pointed out in his comment, a full explanation of keys, chords, and the various ways of moving between them is outside the scope of this forum.
What you are doing could be described as a type of "process music" - that is, you are coming up with a process for composition and allowing that process to play out. In your case, you are moving through chords by allowing one voice to move step-wise.
Some other terms you may want to research are "non-functional harmony" and "voice-leading."
Your process also sounds a bit like "Neo-Reimannian Theory," which is very complicated, but this video does a good job of trying to explain it:
Can music be written not by functionality (for instance: I-IV-V), but only just the motion of the notes (as my line)?
Yes, music can be written in a wide variety of ways, and functional harmony is just one. As Todd Wilcox pointed out in his comment, a full explanation of keys, chords, and the various ways of moving between them is outside the scope of this forum.
What you are doing could be described as a type of "process music" - that is, you are coming up with a process for composition and allowing that process to play out. In your case, you are moving through chords by allowing one voice to move step-wise.
Some other terms you may want to research are "non-functional harmony" and "voice-leading."
Your process also sounds a bit like "Neo-Reimannian Theory," which is very complicated, but this video does a good job of trying to explain it:
answered 7 hours ago
PeterPeter
2,094318
2,094318
add a comment |
add a comment |
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key
In some ways, I might think that would be the least promising approach to
creating ambient music!
Using chords diatonic to a key is likely to create typical tensions and resolutions that will grab listeners' attention and give the music a sense of driving forward. Very often, of course, that's what you want - except for when making ambient music!
(I do recognise that there are different styles within ambient, and that statement may be more applicable to some of those subgenres than others - and I don't mean to assume that you've been unsuccessful!)
As you've mentioned "just the motion of the notes", one approach you might want to look at is polyphony - a type of texture arising from simultaneous melodic lines. It's actually an older tradition than that of thinking in terms of block chords.
It's also very common for ambient music to be based more or less around a single chord for a whole piece, perhaps just moving the odd note here and there to create variations on the tonality.
Many ambient pieces use delay and reverb to cause interesting evolving concords and discords which wouldn't be apparent from looking at a score of the 'played' notes.
Another common ambient technique is to exploring the line between timbre and harmony, and the way that the motion of the harmonics in a sustained note can create changes in the quality of the sonority produced. Or to put it another way - hold down a couple of notes and muck around with the knobs on the synth!
add a comment |
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key
In some ways, I might think that would be the least promising approach to
creating ambient music!
Using chords diatonic to a key is likely to create typical tensions and resolutions that will grab listeners' attention and give the music a sense of driving forward. Very often, of course, that's what you want - except for when making ambient music!
(I do recognise that there are different styles within ambient, and that statement may be more applicable to some of those subgenres than others - and I don't mean to assume that you've been unsuccessful!)
As you've mentioned "just the motion of the notes", one approach you might want to look at is polyphony - a type of texture arising from simultaneous melodic lines. It's actually an older tradition than that of thinking in terms of block chords.
It's also very common for ambient music to be based more or less around a single chord for a whole piece, perhaps just moving the odd note here and there to create variations on the tonality.
Many ambient pieces use delay and reverb to cause interesting evolving concords and discords which wouldn't be apparent from looking at a score of the 'played' notes.
Another common ambient technique is to exploring the line between timbre and harmony, and the way that the motion of the harmonics in a sustained note can create changes in the quality of the sonority produced. Or to put it another way - hold down a couple of notes and muck around with the knobs on the synth!
add a comment |
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key
In some ways, I might think that would be the least promising approach to
creating ambient music!
Using chords diatonic to a key is likely to create typical tensions and resolutions that will grab listeners' attention and give the music a sense of driving forward. Very often, of course, that's what you want - except for when making ambient music!
(I do recognise that there are different styles within ambient, and that statement may be more applicable to some of those subgenres than others - and I don't mean to assume that you've been unsuccessful!)
As you've mentioned "just the motion of the notes", one approach you might want to look at is polyphony - a type of texture arising from simultaneous melodic lines. It's actually an older tradition than that of thinking in terms of block chords.
It's also very common for ambient music to be based more or less around a single chord for a whole piece, perhaps just moving the odd note here and there to create variations on the tonality.
Many ambient pieces use delay and reverb to cause interesting evolving concords and discords which wouldn't be apparent from looking at a score of the 'played' notes.
Another common ambient technique is to exploring the line between timbre and harmony, and the way that the motion of the harmonics in a sustained note can create changes in the quality of the sonority produced. Or to put it another way - hold down a couple of notes and muck around with the knobs on the synth!
I play ambient music and my approach on creating chord lines is simple, just try to stick on the key
In some ways, I might think that would be the least promising approach to
creating ambient music!
Using chords diatonic to a key is likely to create typical tensions and resolutions that will grab listeners' attention and give the music a sense of driving forward. Very often, of course, that's what you want - except for when making ambient music!
(I do recognise that there are different styles within ambient, and that statement may be more applicable to some of those subgenres than others - and I don't mean to assume that you've been unsuccessful!)
As you've mentioned "just the motion of the notes", one approach you might want to look at is polyphony - a type of texture arising from simultaneous melodic lines. It's actually an older tradition than that of thinking in terms of block chords.
It's also very common for ambient music to be based more or less around a single chord for a whole piece, perhaps just moving the odd note here and there to create variations on the tonality.
Many ambient pieces use delay and reverb to cause interesting evolving concords and discords which wouldn't be apparent from looking at a score of the 'played' notes.
Another common ambient technique is to exploring the line between timbre and harmony, and the way that the motion of the harmonics in a sustained note can create changes in the quality of the sonority produced. Or to put it another way - hold down a couple of notes and muck around with the knobs on the synth!
edited 3 hours ago
answered 4 hours ago
topo mortotopo morto
25.2k244101
25.2k244101
add a comment |
add a comment |
The change of the last 2 chords is the change between the relative chords C#m - C#. The preceding prgogression could be considered as a chain of 4 third related chords round the center of A:
IV - vi - I - iii - (V)
This is not so usual then the opposite direction:
iii - I - vi - IV
If you did continue the principle of third relation
the progression would be:
D -> F#m -> A -> C#m -> E -> G#mb5 -> Bm -> D
Is this what you mean?
add a comment |
The change of the last 2 chords is the change between the relative chords C#m - C#. The preceding prgogression could be considered as a chain of 4 third related chords round the center of A:
IV - vi - I - iii - (V)
This is not so usual then the opposite direction:
iii - I - vi - IV
If you did continue the principle of third relation
the progression would be:
D -> F#m -> A -> C#m -> E -> G#mb5 -> Bm -> D
Is this what you mean?
add a comment |
The change of the last 2 chords is the change between the relative chords C#m - C#. The preceding prgogression could be considered as a chain of 4 third related chords round the center of A:
IV - vi - I - iii - (V)
This is not so usual then the opposite direction:
iii - I - vi - IV
If you did continue the principle of third relation
the progression would be:
D -> F#m -> A -> C#m -> E -> G#mb5 -> Bm -> D
Is this what you mean?
The change of the last 2 chords is the change between the relative chords C#m - C#. The preceding prgogression could be considered as a chain of 4 third related chords round the center of A:
IV - vi - I - iii - (V)
This is not so usual then the opposite direction:
iii - I - vi - IV
If you did continue the principle of third relation
the progression would be:
D -> F#m -> A -> C#m -> E -> G#mb5 -> Bm -> D
Is this what you mean?
answered 7 hours ago
Albrecht HügliAlbrecht Hügli
2,452220
2,452220
add a comment |
add a comment |
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What do you mean by "enharmonic chords?" The two chords you list (Dm and F) are in the same key - in fact they are both part of multiple keys, including D minor, F major, C major, A minor, B-flat major, etc. You might want to try searching for "diatonic chords" and seeing if that helps you.
– Peter
9 hours ago
Well, that sort of does have a key. It's just not certain exactly what key it is. It could be D minor or F major or A minor or C major or G minor or Bb major. If you repeat that pattern of a Dm chord and then an F major chord and back and forth, then it will sound like a chord progression in the key of D minor. Aside from all of that, this question is a bit broad. The question really needs a complete explanation of keys and chords and how they work, and that's a lot for a Stack Exchange answer.
– Todd Wilcox
9 hours ago
You speak about harmony lines. I assume you play the chords in root position or at least the root tone in the bass.line. But it would be interesting what line you play in the upper voices as soprano and alto ?
– Albrecht Hügli
7 hours ago