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Any musicians here able to help me with this? by Augustus Bablingwad - Mon, 20 Mar 2017 23:31:12 EST ID:WsWOXqJ5 No.448741 Ignore Report Quick Reply
File: 1490067072873.png -(88832B / 86.75KB, 630x502) Thumbnail displayed, click image for full size. 88832
I am not a musician, but i dick around with a keyboard / daw sometimes.
I discovered these notes combine really well for a morbid / ominous sound. (picture related)
Is this an actual scale / mode?
As much information as possible is helpful, thanks.
>>
Alice Gengerham - Tue, 21 Mar 2017 10:28:03 EST ID:TXwUTpbV No.448743 Ignore Report Quick Reply
this is a guitar site
but whenever i find wacky sets of notes I use this site to give me a direction
http://www.all-guitar-chords.com/reverse_scales.php
just click on the notes you use on any string, and it will suggest what scales they fall under. This one brings up many scales the top being f harmonic minor.
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Fucking Simmerdick - Tue, 21 Mar 2017 12:25:33 EST ID:Xl9uAet2 No.448744 Ignore Report Quick Reply
That would probably have to do with shoving three dissonant intervals together.
>>
Sophie Tootspear - Tue, 21 Mar 2017 23:26:07 EST ID:1cKIfSje No.448754 Ignore Report Quick Reply
>>448741
Here are the intervals and what they are sort of doing. In very simple terms.

You have a minor second. A dark and eerie sound.
A major third. A happier sound.
A perfect 4th. Kinda neutral in practice but a major and very consonant sound.
A major 5th. This is again very consonant and mostly neutral in tone.
An augmented 5th or a minor 6th depending on how you want to look at it. I'd say minor 6th and a bit unlike a minor 3rd, the sad sound has more stress to it. Sort of frenetic in sound.
The you have a lowered 7th which is relatively dissonant but there isn't really any sound I'd classify it as.

Basically, you have a C major chord, (The root, 3rd, and 5th.)Then you have an added perfect 4th. And then you throw on top a minor 2nd, 6th and a lowered 7th.

You could call this a clusterfuck. I'm sure this is some form of slash chord blah blah blah with a major chord over a minor chord. Or polychord or something. I don't know piano well. Or this level of chord theory.

If you are going for the most haunting sound just don't play the white keys in your diagram and play the c# or f# you aren't playing and then play another octave. Or another C or F depending on where you are on the keyboard. You didn't say if you are playing c or f as your root.

For spooky sounds, minor second and diminished 5ths are your friend. The Root, -5, Octave is the tritone. Called the "devil's interval." The minor second is the Jaws theme sound. A 7th that is lowered sounds like shit to me, it is my least used interval within diatonic scales/patterns. Minor 3rds and 6ths add a sad sound. A perfect 4th and 5th can be molded to into some minor sounds and nearly all major sounds. They work good to get your music moving from sound to sound. Major 3rds, 6ths and major chords built with 4ths/5ths will always give a happy sound or a victorious sound depending on context. A 7th is a leading tone and builds the most suspense out of any interval. It wants resolution. Which is partly why many people think the Locrian mode is a theoretical mode which is actually wrong. Locrian is only "theoretical" in the sense that we have 6 modes that are derived by the same means. Because diatonic scales are 7 notes, we "needed" 7 modes and there wasn't anything perfect to derive that from like the other modes so we just "made it up."

Again, all of this is just from an interval to root basis. Throwing all kinds of intervals together rather than just a dyad relationship will give vastly different sounds. Just play around more and you'll start to find what can go where according to your tastes.

>Theory is descriptive, not prescriptive.
>>
Jenny Nablinghall - Wed, 22 Mar 2017 14:09:53 EST ID:ukoPU7Q0 No.448758 Ignore Report Quick Reply
>>448741
It'll depend on function, but you basically have an f melodic minor scale going on there. The raised 7th (e) would be going up, the lowered 6 (Db) would be played going down.

If played all together at the same time you have a polychord of C7/Db

Like the other guy said, all those words do is describe what's going on after the fact. If it sounds good, do it and put words to it later!
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Fucking Fupperfodge - Fri, 24 Mar 2017 12:35:43 EST ID:3a/IltZs No.448777 Ignore Report Quick Reply
>>448754

Thanks for this post, sort of guiding in things I should look into. Messing with blues sounds lately, the flattened interval became clear on how it made a lot of classic sounding rock sound a bit 'evil' or ominous. Yeah, really slow on that, and I could naturally hear, but looking into the "devil's interval" it made it a lot clearer.

I suppose I should dive deep into chord theory, but are there any other aspects of theory worth looking into that you feel are really foundational or enlightening? Anything interesting.


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