KVR Audio

hibidy · Post by **hibidy** » Tue Sep 25, 2007 1:52 am

btw, it's Eb major...........there is no d# major.........check y'er circle of fifths

edited cause of stupid tried to quote me/can't thingy

johnny2johnny · Post by **johnny2johnny** » Tue Sep 25, 2007 1:53 am

BASSDRIVE wrote:More than theory, I'm most intrigued with how people put sounds together. For example, using a guitar inconjunction with a piano, along with strings, an electric bass, flute, electric rhodes piano, sax,etc...etc... That's what intrigues me the most and what I care about the most, I want to know what sounds BEST with what for that particular melody, vibe, or genre. So I guess I'm more intrigued with the theory of "sound." How one sound affects another or how it sounds for the particular vibe I'm trying to achieve. For example, if something like "Moonlight Sonata" was originally played with a synth lead, it just wouldn't be the same, it wouldn't give the same vibe that the piano's sound does.

I guezzo but i believe the moonlight sonata was originally written for guitar

BASSDRIVE · Post by **BASSDRIVE** » Tue Sep 25, 2007 1:54 am

johnny2johnny wrote:
BASSDRIVE wrote:More than theory, I'm most intrigued with how people put sounds together. For example, using a guitar inconjunction with a piano, along with strings, an electric bass, flute, electric rhodes piano, sax,etc...etc... That's what intrigues me the most and what I care about the most, I want to know what sounds BEST with what for that particular melody, vibe, or genre. So I guess I'm more intrigued with the theory of "sound." How one sound affects another or how it sounds for the particular vibe I'm trying to achieve. For example, if something like "Moonlight Sonata" was originally played with a synth lead, it just wouldn't be the same, it wouldn't give the same vibe that the piano's sound does.

I guezzo but i believe the moonlight sonata was originally written for guitar

Well if it was, the guitar gives quite the same vibe for me. I like and use both the guitar/piano interchangeably.

waveriderarts · Post by **waveriderarts** » Tue Sep 25, 2007 1:58 am

nuffink wrote:
WilliamK wrote:<shameless promo>

Or just try our Wusik Tool Melody, you will always be in tune.

http://www.wusik.com/w/wtools.html

Wk
By the simple (not to say simplistic) expedient of locking the chord notes to the white keys.

BASSDRIVE · Post by **BASSDRIVE** » Tue Sep 25, 2007 1:58 am

Remember, we're in the 21st Century people. People back then were on a different vibe. I think they heard things differently than we do now. With modern music penetrating our minds each day, I think it's hard to take it back to the olden whig days.

joshhunsaker · Post by **joshhunsaker** » Tue Sep 25, 2007 2:02 am

johnny2johnny wrote:
BASSDRIVE wrote:More than theory, I'm most intrigued with how people put sounds together. For example, using a guitar inconjunction with a piano, along with strings, an electric bass, flute, electric rhodes piano, sax,etc...etc... That's what intrigues me the most and what I care about the most, I want to know what sounds BEST with what for that particular melody, vibe, or genre. So I guess I'm more intrigued with the theory of "sound." How one sound affects another or how it sounds for the particular vibe I'm trying to achieve. For example, if something like "Moonlight Sonata" was originally played with a synth lead, it just wouldn't be the same, it wouldn't give the same vibe that the piano's sound does.

I guezzo but i believe the moonlight sonata was originally written for guitar

actually it was written for one of his piano students that he was madly in love with

it was never intended for guitar...

BASSDRIVE · Post by **BASSDRIVE** » Tue Sep 25, 2007 2:06 am

joshhunsaker wrote:
johnny2johnny wrote:
BASSDRIVE wrote:More than theory, I'm most intrigued with how people put sounds together. For example, using a guitar inconjunction with a piano, along with strings, an electric bass, flute, electric rhodes piano, sax,etc...etc... That's what intrigues me the most and what I care about the most, I want to know what sounds BEST with what for that particular melody, vibe, or genre. So I guess I'm more intrigued with the theory of "sound." How one sound affects another or how it sounds for the particular vibe I'm trying to achieve. For example, if something like "Moonlight Sonata" was originally played with a synth lead, it just wouldn't be the same, it wouldn't give the same vibe that the piano's sound does.

I guezzo but i believe the moonlight sonata was originally written for guitar
actually it was written for one of his piano students that he was madly in love with

it was never intended for guitar...

What a pervert. I bet she was under age too.

joshhunsaker · Post by **joshhunsaker** » Tue Sep 25, 2007 7:35 am

she was a teenager to be sure...

C00kie · Post by **C00kie** » Tue Sep 25, 2007 9:15 am

joshhunsaker wrote:she was a teenager to be sure...

Beethoven's piano sonata #14 in C-sharp minor "Quasi una fantasia" (Op. 27, No. 2, aka the Moonlight Sonata) was dedicated to his pupil, 17-year-old Countess Giulietta Guicciardi.

Momentarily in love with Beethoven, she had a portrait done for him which he kept all his life. It is certain that Beethoven proposed marriage to Giulietta, and that she was inclined to accept. One of her parents was in favour of the match. But she married Count Robert von Gallenbergin in 1803 , who was wealthier than the composer.

I don't know what the age of consent was in Vienna back in 1801

Acrobat · Post by **Acrobat** » Tue Sep 25, 2007 9:59 am

C00kie wrote:17-year-old Countess Giulietta Guicciardi.I don't know what the age of consent was in Vienna back in 1801

not bad... do you have a full picture of her?...

joshhunsaker · Post by **joshhunsaker** » Tue Sep 25, 2007 10:00 am

i knew it started with a g... i thought i was going to have to go look in a beethoven sonata book i acquired a year back...

i still like thinking about what his 10th symphony might have been like had he finished it. He was pretty bonkers by the end there... (a little weird all his life i suppose)

C00kie · Post by **C00kie** » Tue Sep 25, 2007 10:26 am

Acrobat wrote:do you have a full picture of her?...

Google Images has several...
There also was a movie "Immortal Beloved" about Beethoven in which her part was played by Valeria Golino.

Toxikator · Post by **Toxikator** » Tue Sep 25, 2007 2:26 pm

Lord Snarebottom wrote:Theory is what the rest of you do to figure out what those gifted with genius have done without it.

ITT we disparage musical education because we're too lazy to learn it for ourselves.

UncleAge · Post by **UncleAge** » Tue Sep 25, 2007 3:44 pm

Lord Snarebottom wrote:Theory is what the rest of you do to figure out what those gifted with genius have done without it.

This is one of the most misguided statements I have ever read.

My 2 cents. I think that I understand what Bassdrive was getting at because its the same way I felt about this issue many years ago. I didn't want someone elses ideas injected into my head. But I was never as lost as Lord Snarebottom.

The real issue I found out later on in life was that I had a problem with HOW music theory is taught. And to this day I still don't like traditional theory classes. Simply put I don't learn well that way. But all that changed about 7 years ago when I ran into someone who took the time [and I am eternally grateful to that person] to explain just the basics and pointed me in the right direction. I do agree with Bassdrive when he alludes to the importance of improving your listening skills. However, I believe that both listening and theory go hand in hand and are almost of equal importance in todays musical landscape. I think I would have been able to get around a lot of the mental blocks that would come up from time to time if I had not been so stubborn. Theory doesn't tell you what to play or how to play it. That's still up to you. It is an invaluable skillset as a musician.

And I will take it one step further [and I may be way out of bounds here but...]

Bassdrive, when you go back and listen to the tracks you made, are they exactly what you heard in your head when you started? Or are they as close as you could get to what you heard? Did you stray far from the original direction that you were going when you started each tune?

This is not a condescending inquiry and I hope you will answer it as honestly as you have answered the other posts.

BASSDRIVE · Post by **BASSDRIVE** » Tue Sep 25, 2007 5:51 pm

UncleAge wrote:

Bassdrive, when you go back and listen to the tracks you made, are they exactly what you heard in your head when you started? Or are they as close as you could get to what you heard? Did you stray far from the original direction that you were going when you started each tune?

This is not a condescending inquiry and I hope you will answer it as honestly as you have answered the other posts.

I usually don't make music based on what I hear in my head. Most of my ideas are created on the fly. Sometimes I come up with multiple ideas at the same time and I will use those ideas for other songs. The record button and midi editing helps in that instance. I guess I just let my fingers do it and my ears just follow and guide me. Yeah I guess I do try to sometimes make what I hear in my head, but the majority of the time I don't. Sometimes I might have something like a bassline in my head and I'll lay it down. For me I think it just complicates everything because I'm trying to listen to my head too much and it pisses me off when I lose my memory, so it can create a bit of frustration. I personally come up with better ideas when I actually start playing something, ideas start popping up in my head as I'm playing. So that's actually when I really start using my head. I guess that's kind of what I like about this method, as I never truely know what I'm going to ultimately create. It's all a surprise and I do in fact surprise myself sometimes because I can't believe I actually made that. I think when I listen with my ears, my stuff gets more complex or atleast more musical sounding because that allows me to free up my mind and hands.

c - minor, is this the hardest key to compose in?