Chords,melody, not quite working.

[BoyWonder]

Hi folks, I'm looking for ideas. Im working on a track. The verse chords are Bm,D Bm, A,D. This goes into a chorus of G, D. I'm having a little issue with the chorus as the main melody on the G chord is actually an elongated B note. This obviously works in theory, but because it's the middle note of the chord,
something sounds not quite right with the song. I've tried inversions and stuff
but, cant seem to get round it. Maybe I need to substitute the chords? Any ideas to try out?

[BoyWonder]

Bump. Looking for some educated input on this one?

[ckatrun411]

what is the style of music? your tonic is minor, your 7 is major, your six is major, your 3 is major, and your playing off those tones... why not replace the D with a c#, replace the g, with an f minor, the major seventh is not bad, but why the 6? well, whatever.... what is the style of music?

[nuffink]

what is the style of music? your tonic is minor, your 7 is major, your six is major, your 3 is major, and your playing off those tones... why not replace the D with a c#, replace the g, with an f minor, the major seventh is not bad, but why the 6? well, whatever.... what is the style of music?

What?

[BoyWonder]

what is the style of music? your tonic is minor, your 7 is major, your six is major, your 3 is major, and your playing off those tones... why not replace the D with a c#, replace the g, with an f minor, the major seventh is not bad, but why the 6? well, whatever.... what is the style of music?

What? Where did I mention those chords?

Its a rock track.

[ckatrun411]

what is the style of music? your tonic is minor, your 7 is major, your six is major, your 3 is major, and your playing off those tones... why not replace the D with a c#, replace the g, with an f minor, the major seventh is not bad, but why the 6? well, whatever.... what is the style of music?

What?

you are so holier than thou when it comes to theory. did you ever think that, there might be an idea other than your own.

what is the style of music? your tonic is minor, your 7 is major, your six is major, your 3 is major, and your playing off those tones... why not replace the D with a c#, replace the g, with an f minor, the major seventh is not bad, but why the 6? well, whatever.... what is the style of music?

What? Where did I mention those chords?

Its a rock track.

OK, if it is a rock track, what happened to 1, 4, 5, and the circle of 5ths....

seems to me, Bm is great, than the A would be a major seven, but what about Fm? That would be a five from Bm...


You say your chords aren't quite working for you, yes? Well, it would just seem to ME... Obviously not Nuffink, who any second from reading this post, will drop another saying something like, "ckatrun411 is a stupid c**t," but whatever, it would seem to ME, your making a rock track, your missing the aspect of 1, 4, 5....


Thats all I'm saying. Your more than welcome to disagree. I'm just trying to help.

Cheers

[nuffink]

you are so holier than thou when it comes to theory. did you ever think that, there might be an idea other than your own.

Not coming out of your head that's for sure.

[BoyWonder]

Nuffink.

Your opinion is valued. Can you pass it to me if poss?

The other bloke has lost me completely.

[butter]

you are so holier than thou when it comes to theory. did you ever think that, there might be an idea other than your own.

Not coming out of your head that's for sure.

Did I miss some heated, hateful rivalry between you two? Have I not been paying enough attention?

[nuffink]

The verse chords are Bm,D Bm, A,D. This goes into a chorus of G, D.

Ok, I'm assuming that the verse resolves to D. The B minor chords look a little out of place here. Not wrong but awkward. For a straight ahead rock tune you might want to replace them with G chords. If you were feeling a bit jazzier then possibly E minor 7ths might be better, leading to an A7, D cadence.
The G, D can be construed in a number of ways depending upon where the chords are played in the bar. It could be made to sound like an authentic cadence in G (i.e. you've modulated for the chorus) or a plagal cadence in D. Either would be considered quite common.

When you see a progression described as say IV, V7, I (G, A7, D in the key of D) the temptation is to play them exactly like this G . . . A7 . . . D . . . . . . This is quite passive, the cadence ends on a metrically weak measure. The tension chord (A7) is not emphasised.
If you play it I, IV, V7 (D . . . G . . . A7 . . . . . . .) The tension chord is held for 2 measures and resolves to the I at the start of the next repetition. In other words the cadence ends on a metrically strong measure.
In the rather sexist nomenclature of music theory the first is known as a feminine and the second as a masculine cadence.

[nuffink]

you are so holier than thou when it comes to theory. did you ever think that, there might be an idea other than your own.

Not coming out of your head that's for sure.

Did I miss some heated, hateful rivalry between you two? Have I not been paying enough attention?

Hardly. He makes the occasional hit and run foray into the theory forum. He seems to have some kind of random generator which mixes up chords, intervals and scale degrees into a great pile of vaguely music theory looking garbage which he then shovels into a posting. Here's another recent effort...

In dance, the production, mixing, and sound design is quite important. Music theory is a bit important, but you know, your dealing with a really bastardized viewpoint on theory in dance genres.....

1s, flat 3rds, 5ths, 7ths, 9ths, octaves, and arpegios, usually in minor keys....... Also very chromatic lines and such....


Basically gating 4 tones to make a track.....


LOL...
Cheers

See? Just... stuff. Vaguely musical terms in no particular order making no sense at all.

He needs a public health warning stamped on him before he's let loose on a theory forum. People who ask questions here don't need that kind of confusion.

[butter]

you are so holier than thou when it comes to theory. did you ever think that, there might be an idea other than your own.

Not coming out of your head that's for sure.

Did I miss some heated, hateful rivalry between you two? Have I not been paying enough attention?

Hardly. He makes the occasional hit and run foray into the theory forum. He seems to have some kind of random generator which mixes up chords, intervals and scale degrees into a great pile of vaguely music theory looking garbage which he then shovels into a posting. Here's another recent effort...

In dance, the production, mixing, and sound design is quite important. Music theory is a bit important, but you know, your dealing with a really bastardized viewpoint on theory in dance genres.....

1s, flat 3rds, 5ths, 7ths, 9ths, octaves, and arpegios, usually in minor keys....... Also very chromatic lines and such....


Basically gating 4 tones to make a track.....


LOL...
Cheers

See? Just... stuff. Vaguely musical terms in no particular order making no sense at all.

He needs a public health warning stamped on him before he's let loose on a theory forum. People who ask questions here don't need that kind of confusion.

I see what you mean.

One of these things is not like the others:

"1s, flat 3rds, 5ths, 7ths, 9ths, octaves, and arpegios"

Sure they're all harmonics of the tonic but an arpeggio is not a harmonic relationship. It's a style of playing.

"Gating four tones to make a track?"
What does that even mean?

[ckatrun411]

Seriously mate, you think your some sort of theory deity. I certainly didn't learn theory from studying it at college. FIne.

I learned it playing in bands.

Ok, I'm assuming that the verse resolves to D. The B minor chords look a little out of place here. Not wrong but awkward. For a straight ahead rock tune you might want to replace them with G chords. If you were feeling a bit jazzier then possibly E minor 7ths might be better, leading to an A7, D cadence.
The G, D can be construed in a number of ways depending upon where the chords are played in the bar. It could be made to sound like an authentic cadence in G (i.e. you've modulated for the chorus) or a plagal cadence in D. Either would be considered quite common.

When you see a progression described as say IV, V7, I (G, A7, D in the key of D) the temptation is to play them exactly like this G . . . A7 . . . D . . . . . . This is quite passive, the cadence ends on a metrically weak measure. The tension chord (A7) is not emphasised.
If you play it I, IV, V7 (D . . . G . . . A7 . . . . . . .) The tension chord is held for 2 measures and resolves to the I at the start of the next repetition. In other words the cadence ends on a metrically strong measure.
In the rather sexist nomenclature of music theory the first is known as a feminine and the second as a masculine cadence.

How correct is your post here, if Bm is his tonic? Not correct at all. And you know it. As a matter of fact, in the op, it was stated "The verse chords are Bm,D Bm, A,D. "

I assumed he was in the key of Bm. Cause he put that down first. That makes my post correct! And YOU KNOW IT.

But alas, you have to be some pretentious theory nazi. Good for you. I try to be helpful. I do it, despite what people like you do.....

IE, try to cut me down at every corner.....


Your inane quest, for some pseudo intellectual, phalanx symbol


LOL...

You are deity nuffink, I'm sure........





In your own mind.

[ckatrun411]

I see what you mean.

One of these things is not like the others:

"1s, flat 3rds, 5ths, 7ths, 9ths, octaves, and arpegios"

Sure they're all harmonics of the tonic but an arpeggio is not a harmonic relationship. It's a style of playing.

"Gating four tones to make a track?"
What does that even mean?

gating four tones to make a track, was a joke... hence the LOL....

read the whole thread, its in here somewhere, it has goa and psy in the title

[someone called simon]

I think I see where ckatrun411 was coming from. It threw me at first. When he said Fminor, I presume he meant F# minor. in the key of B, F is sharp anyway. But it helps to say it. But the A wouldn't be a major7, as that would add a G#. The G is natural in this progression, so that would be odd. Not wrong but odd.

There are plenty of rock songs with progressions other than 1, 4, 5.

If the progression in the verse is based around B minor, thats fine, thats probably how you want it to sound.

In the chorus, I wonder if you are holding the B melody note into the D chord? which won't sound 'right', possibly, coz its not a note in that chord. Was that the issue? if so, either change the melody note, or the chord note. if the melody note was D, it would fit with both chords. a note like F# would be nice over both chords, it would make the G chord a major 7th which would be pleasant. or an A note would work too.
Or keep the B melody note and use a different chord. there are the standard chords, and the slightly odd choices, either of which could sound 'right... so standard chords. B, B minor, G, G# minor, E, E minor. All of those feature a B, though the G# minor would sound strange. might be fun to try though! another 2 'odd' choices would cma7, or C#7, each of which feature a B note. Or some A chord, or variants of it. A sus, A7 sus etc...

Hope that is of some help!