Get Muddy
Lesson 23 from: Music Theory for Electronic Musicians 2: Minor Keys and MoreJ. Anthony Allen
Get Muddy
Lesson 23 from: Music Theory for Electronic Musicians 2: Minor Keys and MoreJ. Anthony Allen
Lessons
Welcome and Overview
04:15 2Analysis: Shame on Me (Avicii)
22:25 3Minor Scales
06:27 4Relative Keys
11:03 5Minor Diatonic Chord Progressions
12:09 6The Case of the Melodic and Harmonic Minor Scales
05:26 7Analysis: Ghosts N Stuff
26:08 8The Circle of Fifths
09:48Changing Keys Within Your Track
14:00 10Analysis: Get Lucky (Daft Punk)
26:06 117th Chords in Minor
16:38 129ths and 13ths
09:08 13Suspended Chords
05:03 14Reading a Chord Chart
11:02 15ster and Unnamed Chords
03:47 16Analysis: Everything You Do is a Balloon (Boars of Canada)
21:14 17Writing Melodies for Chord Progressions
14:32 18Writing Chord Progressions for Melodies
13:54 19Counter Melody with Apreggiators
12:24 20Analysis: Scary Monsters and Nice Sprites (Skrillex)
28:26 21Bass lines: Follow the Root Note
13:23 22Bass Riffs
08:49 23Get Muddy
03:02 24Analysis: Windowlicker
12:44 25Chromaticism
03:43 26Thanks and Bye!
01:15Lesson Info
Get Muddy
Okay. Last thing about baselines. Um, this is a pretty simple one. Uh, do not put chords in your baseline. And by cords, I mean more than one note. Bass lines are always a single note, and I'm going to tell you why. The reason is too many notes in this low frequency it turns to mud. That would be the technical term for what happens. Mud. It's not really a technical term. Um, but, uh, let's say I added a, um the third to this if this was a cord adding the sea on top of this a would be great. Um, right. I'd be basically creating an A minor chord, and it would sound often, but because we're in such a low frequency for this, um, this is just gonna sound gnarly, right? There's it takes away from the baseline. So baselines are always one note, um, one note at a time, I should say so. We never put chords in Ah, in a baseline. And that's why now, when you get into sound design stuff, this is what I was mentioning earlier in the first video in the segment. When you get into sound design stuff, ...
you'll figure out why, Um, we don't do this and you can make you can craft sounds that have, like, ah, lot of kind of a lot of different pitches in them that happened in the low range. But you're you can do it in a way that keeps it from, like, turning into mud like this. Um, let me just play like, one long held note here. So if I play these two notes, this is just a minor third, we ought toe like the sound of this, but it's just too much stuff too low. And the frequencies get all tied together, and it just becomes a mess. So one note at a time in your baselines, Too much stuff in the low range, and it just turns the mud. So, um, if I was to move this note up inactive, it will sound fairly interesting. That's an okay sound, cause they're they're far enough away to where they don't get all Mudede together. And when I'm up in this higher range, if I put a note above it, it sounds fine because I'm in a higher range. It's that lower range where everything just gets all gnarly when it's all put together. So, um, that's all I wanted to point out in this. Ah, quick little nugget of a video. So, um yeah, that's it. Okay, let's move on to another analysis, okay?
Ratings and Reviews
MikeD
Well, I slobbered all over you after your first class and this one is as good or better. I realize people don't go to college for 12 years and learn what you shared in a few hours and you didn't earn your doctorate with just this stuff. I mean Julliard must offer a lot more, but you have advanced my knowledge by miles and I've got to say thank you. Make some more of these simple, common talk courses - I'll buy them all.
Ben Küstner
Real Great Course. I learned a lot about Music Theory and now am jamming better than ever on my keyboard. Thanks Allen
Nick van Lochem
This course its so good he makes it al sound so easy. that ists easy to remember and use in your creations.