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Harmonies - Rules & Theories?

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tone

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« Reply #15 on: February 06, 2013, 08:03:51 PM »
I wasn't having a pop at you James - I know you're open minded enough to see that knowledge and inspiration aren't mutually exclusive.

Just needed to get it off my chest, that's all :D
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James Nighthawk

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« Reply #16 on: February 06, 2013, 08:50:35 PM »
I wasn't having a pop at you James - I know you're open minded enough to see that knowledge and inspiration aren't mutually exclusive.

Just needed to get it off my chest, that's all :D

Didn't think you were, wouldn't be your style! I was just clarifying too :) I agree, knowing what you are doing is very important and has little to zero drawbacks. The broader the pallette the broader the portfolio  ;D
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Tony h Lfc

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« Reply #17 on: February 20, 2013, 10:43:21 PM »
Hi man, as some of the other guys have said before, ther are kind of rues to harmony and music in gen but rules are ther to be broken and especially in music, to make a chord you have a scale as said before c d e f g a b etc these are called intervals c to d is a major 2nd c to e a major 3rd c to f a perfect 4th and so on google it to get a better understanding of ther relationships, ( as they tend to want to resolve to some place this needs time by you to investigate to understand and be able to use )you make chords out of said scale by stacking notes on top of each other ie c-e-g makes a c major chord as a simple triad but you can add more notes on top of them three too to make it more fuller, exciting/colour or moody/flavour or what ever you want to call it many diff people have many diff ways of describing this, so again the way you make a chord is take a note miss the next one then take the one after that and stack them ( take C miss D take E miss F take G miss A take B this will give you C major 7 and the more you add the bigger the chord, if sounding to full or mad for your ears you can start to omit some notes ie the root of the chord and the 5th of the chord as your bass will prob be playing the root but you gotta leave your 3rd in ther to determine the chord type ie major, minor, so with all that said this is how you would go about creating your harmonies too, you can flesh out using this method some parts and then use your ear to get from one line to another, and just as ther are only 12 notes in all chromatic wise to choose from its the rhythm and style/genre that creates colour/flavour to your music so get to grips with some simple block ooooos and aahhs first of all then maybe try some counter melodies in your music maybe just one running along side your verse vocal after you get to grips with those try and get more experimental and add some from diff styles of music ie have a listen to some country music and try and recreate ther style and weave it into your song(s) o maybe some gospel and doo-wop, just some food for thought but like I said all diff styles give diff flavours and adding these to your own tunes can be real fun and surprising as well as rewarding, if you listen to the Beatles they have a lot of early black USA bands harmonies in ther songs but with them singing them and against the song it sounds really good and not to obvious until you listen closely and dig around into maybe what they would have been listening to all those years ago, but you need to get to grips with chord construction first of all its a simple thing but really helps with all things musical as far as harmonies and arrangements go, I hope I haven't cabbages your head just trying to help

James Nighthawk

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« Reply #18 on: February 20, 2013, 11:07:48 PM »
Dear lord man, try using a full stop once in a while. Perhaps even employ a paragraph or two? I am exhausted just thinking about reading that wall of text!

 ;)
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monkfish79

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« Reply #19 on: February 20, 2013, 11:57:07 PM »
Hi, I just wondered if there are any good rules or theories for working out good vocal harmonies. Like for example, does it generally work to stick to the 3 notes of a chord, and follow that through the melody?

I've never given it much thought before, just made it up as I've gone along.

:)

It very much depends on the song! Sometimes a ninth will sound awesome, other times not so much. The most important thing is to know what you're doing. Music theory's odd in that you probably do know a hell of a lot more than you think, you just don't know how to explain it. Like getting the right answer to a maths problem but not able to show your working.

IMHO, the best place to start - assuming that you want a methodical approach - is to take your harmonies from your chord progression. Most chord progressions will have a natural line in there somewhere. Learn to identify it, then (and this is very easy to say) learn to elaborate.  

As a general guide for theory, Mark Levine's Jazz Theory Book is an absolute gold mine of information. I'm not a jazzer by any means, but the info in the book can be related to a whole lot more than just one genre.
« Last Edit: February 20, 2013, 11:59:00 PM by monkfish79 »

Tony h Lfc

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« Reply #20 on: February 21, 2013, 09:20:39 AM »
No need for punctuation i was trying to help with the harmonies

anthonyceseri

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« Reply #21 on: February 25, 2013, 03:10:43 PM »
As James said "NOT knowing how everything works means you go places you wouldn't". I'm worried I will lose my natural instincs if I learn too much theory.
I'm sorry but I totally disagree with this.

Until I learned what it was, I never used a diminished chord in a song. Understanding how music works in no way dulls your instincts for it; it sharpens them.

Great point...

anthonyceseri

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« Reply #22 on: February 25, 2013, 03:12:19 PM »
I think a good thing for you to try would be to just record your melody on a piano, and then play some notes on top of it to see what works best for the mood and feel for your song.