I'm struggling with making good progression is psytrance and tech-trance, which usually use dissonant intervals (minor and major seconds) to create tension and avoid harmonic melodies. Now, chords in general involve intervals of thirds and fifths.
How to deal with that and how to combine chords progression techniques with seconds? Is that ever neccessary? Can I live with no chords at all?
Chords progression vs dissonant intervals
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- KVRAF
- 4589 posts since 7 Jun, 2012 from Warsaw
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Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRAF
- 5664 posts since 7 Feb, 2013
Make psytrance with catchy "harmonic" melodies and you'll have at least one fan 
You definitely can make music in these styles without any chords at all. Many psytrance tracks don't have any chord progression, the bass is playing one constant root note and all the other instruments mostly are playing the same note jumping at fifth or octave at times - the tension is created by automating the timbre changes rather than by melodic progression. You can also use the minor second and the diminished fifth (tritone) in your melodies - these intervals tend to sound dark and menacing which often fits psytrance.
You definitely can make music in these styles without any chords at all. Many psytrance tracks don't have any chord progression, the bass is playing one constant root note and all the other instruments mostly are playing the same note jumping at fifth or octave at times - the tension is created by automating the timbre changes rather than by melodic progression. You can also use the minor second and the diminished fifth (tritone) in your melodies - these intervals tend to sound dark and menacing which often fits psytrance.
You may think you can fly ... but you better not try
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- KVRAF
- 7837 posts since 20 Jan, 2008
2nds are always more palatable as 9ths and depending on the instruments of the arrangement an otherwise dissonant tone sounds more plausible when the chord supports it. b11's b13ths, b9s
Don't be as consumed with an isolated moment in time. Musical passages are just that a passing of time from one point to another and another.
Don't be as consumed with an isolated moment in time. Musical passages are just that a passing of time from one point to another and another.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
Well, that's some opinion. Probably style-bound. Which has no bearing on a situation where one wants the sound of the 2nd. Which appears to be true of the OP here. There's nothing implausibletapper mike wrote:2nds are always more palatable as 9ths and depending on the instruments of the arrangement an otherwise dissonant tone sounds more plausible when the chord supports it.
about an 'unsupported' second per se.I'm not familiar with the style here. The person who is may have more pertinent advice, such as above.
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
EG: minor add 2. The pull, maybe the poignance or sting of the B against the C on A minor (plus the difference of 2 as opposed to a literal 9 acoustically), that's a whole thing.