Hi everyone,
I've been busy with harmony for quite some time, inversions, diatonic, sevenths, ninths. Tonic, fifth (dominant) return to home, consonance, dissonance, everything.
However my chord progs never sound like this. I've used all, triads, inversions of all sevents, ninths, Kerri Chandler chords with the ninth an octave down as a minor second.
It can't be that complicated right that it's not within my reach after what I have studied.
If anyone could help me with this that would be great.
Need help to unravel the garage/house style chords and their progressions
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- KVRian
- 897 posts since 9 Aug, 2004 from Rome, Italy
the first one is just a minor chord FA# played sequentially 1-fifth, 2-3rd minor, 3-tonic, so that's very simple, it might be that you are hearing nuances due to the timbre..niels85 wrote:Hi everyone,
I've been busy with harmony for quite some time, inversions, diatonic, sevenths, ninths. Tonic, fifth (dominant) return to home, consonance, dissonance, everything.
However my chord progs never sound like this. I've used all, triads, inversions of all sevents, ninths, Kerri Chandler chords with the ninth an octave down as a minor second.
It can't be that complicated right that it's not within my reach after what I have studied.
If anyone could help me with this that would be great.
"For some reason everyone on this site hates Roger Nichols, loves Zebra, doesn't need a Virus (unless it's TI), uses Reaper, and thinks the Kaoss pad is cool: remember these rules and you'll be popular." (blackboyrockinit)
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
So you mean: F-A#-C Chord with the 1. Sec inv, 2. First Inv, 3 Root position? So all 3 the same chord. That's bloody simple yeah. Thnx.
According to beatport, the song is in D# minor. However that means that the chord is III of the scale. Why would you repeat the III (which is a major btw) in a scale over and over?
Where is the tension in that?
According to beatport, the song is in D# minor. However that means that the chord is III of the scale. Why would you repeat the III (which is a major btw) in a scale over and over?
Where is the tension in that?
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- KVRian
- 897 posts since 9 Aug, 2004 from Rome, Italy
yeah you are right going down the stairs it gained a semitone in my mind, sorry, it IS:
1-F, 2-C#, 3,4-A#
THEN the second time there's a variation:
1-F, 2-C,3,4-A#.
The reference scale is F minor melodic for all the notes, IMHO beatport is wrong.
It's an old trick: the melody works on two measures, in the first measure the chord is minor and in the second is dim just moving the middle finger C# to C.
1-F, 2-C#, 3,4-A#
THEN the second time there's a variation:
1-F, 2-C,3,4-A#.
The reference scale is F minor melodic for all the notes, IMHO beatport is wrong.
It's an old trick: the melody works on two measures, in the first measure the chord is minor and in the second is dim just moving the middle finger C# to C.
"For some reason everyone on this site hates Roger Nichols, loves Zebra, doesn't need a Virus (unless it's TI), uses Reaper, and thinks the Kaoss pad is cool: remember these rules and you'll be popular." (blackboyrockinit)
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
An old trick huh, never heard about it. Probably cause I'm not classically trained.
So it's a i - III - V for the first measure F - A# - C#.
i - III - iv progression for the second F - A#- C?
Creating a plagal cadence so you will keep on going because it's not resolving right? That's why you keep listening to the track without getting bored. You want it to resolve to the tonic.
Thanks!
So it's a i - III - V for the first measure F - A# - C#.
i - III - iv progression for the second F - A#- C?
Creating a plagal cadence so you will keep on going because it's not resolving right? That's why you keep listening to the track without getting bored. You want it to resolve to the tonic.
Thanks!
Acrobat wrote:yeah you are right going down the stairs it gained a semitone in my mind, sorry, it IS:
1-F, 2-C#, 3,4-A#
THEN the second time there's a variation:
1-F, 2-C,3,4-A#.
The reference scale is F minor melodic for all the notes, IMHO beatport is wrong.
It's an old trick: the melody works on two measures, in the first measure the chord is minor and in the second is dim just moving the middle finger C# to C.
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
No it's not.
They are all single notes, not chords. Together they make up the tonic chord of F.
But still they are very rich sounding for a 1 note pattern. Aren't they fifths? I will try at home
They are all single notes, not chords. Together they make up the tonic chord of F.
But still they are very rich sounding for a 1 note pattern. Aren't they fifths? I will try at home
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JumpingJackFlash JumpingJackFlash https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=44005
- KVRian
- 1227 posts since 10 Oct, 2004
Wrong.niels85 wrote:It can't be that complicated right
People spend literally years studying harmony and still find new things to learn. Of course if you're just happy with the basics that's fine, but don't underestimate the craft; it is a skill, and like all skills, the more you practice, the better you become.
I would recommend this book. It goes through both diatonic and chromatic harmony in an easy-accessible way. You can get it half price if you agree not to photocopy it!
Unfamiliar words can be looked up in my Glossary of musical terms.
Also check out my Introduction to Music Theory.
Also check out my Introduction to Music Theory.
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- KVRAF
- 6390 posts since 8 Jun, 2009
If you want the classical name for what's going on most deep house tracks, it's 'planing', as used by Claude Debussy on the Sunken Cathedral among others. The reason why it hasn't turned up in your theory is that you just haven't got there yet - as it's 20th Century harmony stuff. It also means there is practically no functional harmony going on.
In deep house it's generally a minor seventh or ninth that's shifted up and down the keyboard largely because the source sound is in fact a chord sampled from an old soul or gospel recording. So you have a chord progression that behaves more like a melody - this seems to be pretty much what is happening in the second example. It usually gets heavily filtered, delayed and reverbed to make it less recognisable, sound more like deep house and also knock out some of the bass notes from more complex chords.
In deep house it's generally a minor seventh or ninth that's shifted up and down the keyboard largely because the source sound is in fact a chord sampled from an old soul or gospel recording. So you have a chord progression that behaves more like a melody - this seems to be pretty much what is happening in the second example. It usually gets heavily filtered, delayed and reverbed to make it less recognisable, sound more like deep house and also knock out some of the bass notes from more complex chords.
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
I was trying to say that they would not use altered chords, tritone substitions, modulation and what more you can think of. More like minor 7th harmony and some minor 9th chords. I think it will not be more complicated than that in deep house and garage house.Thanks for your link. I currently use this one:
http://www.amazon.com/Harmony-Computer- ... +musicians
JumpingJackFlash wrote:Wrong.niels85 wrote:It can't be that complicated right
People spend literally years studying harmony and still find new things to learn. Of course if you're just happy with the basics that's fine, but don't underestimate the craft; it is a skill, and like all skills, the more you practice, the better you become.
I would recommend this book. It goes through both diatonic and chromatic harmony in an easy-accessible way. You can get it half price if you agree not to photocopy it!
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
Thanks man.
Wow that's kinda interesting that Debussy experimented with that in the 20th century. I know InnerCity - Good Life was made like that. And you can hear the sample speed up and down as it's played up and down the keyboard.
So basically, there is no chord voicing or any of that. No Bass and melody note shifting in contrary motion. It's against all laws of harmony.
Wow that's kinda interesting that Debussy experimented with that in the 20th century. I know InnerCity - Good Life was made like that. And you can hear the sample speed up and down as it's played up and down the keyboard.
So basically, there is no chord voicing or any of that. No Bass and melody note shifting in contrary motion. It's against all laws of harmony.
Gamma-UT wrote:If you want the classical name for what's going on most deep house tracks, it's 'planing', as used by Claude Debussy on the Sunken Cathedral among others. The reason why it hasn't turned up in your theory is that you just haven't got there yet - as it's 20th Century harmony stuff. It also means there is practically no functional harmony going on.
In deep house it's generally a minor seventh or ninth that's shifted up and down the keyboard largely because the source sound is in fact a chord sampled from an old soul or gospel recording. So you have a chord progression that behaves more like a melody - this seems to be pretty much what is happening in the second example. It usually gets heavily filtered, delayed and reverbed to make it less recognisable, sound more like deep house and also knock out some of the bass notes from more complex chords.
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- KVRer
- Topic Starter
- 23 posts since 17 Oct, 2012
Yeah true. I did some research, it's called parallel harmony by Ravel, Debussy and other.Gamma-UT wrote:niels85 wrote:It's against all laws of harmony.
Well common-practice tonal harmony. But that's not all harmony.