Hey music theory fags

autism

show me your great compositions, im curious. show me sth. you created you think you couldnt have without your study of theory. :^)

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Read

instaud.io/1xzZ

>instaud.io/1xzZ
thanks for not being a coward.

Well since the greatest theoryfags of all time are all dead and can't post their music i'm gonna do it

youtu.be/pA4_FnH49tA

Sounds very good. Thanks for sharing and inspiring.

I'm sorry OP, but it seems like nobody knows how to compose and everyone here is just a pretentious fraud

nice
Do you have any formal training in theory?

instaud.io/3kmM
I used only basic music theory here. Stuff like snare on 2 and 4, 4/4 bars, structured the melody ABAB' which is often done in film soundtracks. But this is music theory too, all music theory really is is understanding how music works
Holy shit that's good

Thanks guys. I really didn't think it was all that good. I'll explain the theory. But I'll say what was more useful was listening to, reading and absorbing a wide variety of CLASSICAL music. Theoretically the music is fairly esoteric.

The first thing to note is that the chords at the beginning are symmetrical (reflected about a central key), which is an idea borrowed from Messiaen. The other notable aspect is that the three chords, which are revoiced several times account for the entire chromatic scale (essentially a tone row). The chords are later handed off to the piano in a more standard, playable format. But that's really where the theory ends. I improvised around that. But I would say even the improvistory part was informed by sophisticated listening.

Also, absolutely essential. Train your ear up.

musictheory.net/exercises/ear-interval

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>Messiaen
You, Sir, have great taste. And your piece was enjoyable as well.

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I mean it sounds alight but it doesn't even modulate to a different key. Theory is hardly necessary to make something like this.

I guess you're right. I'm still learning how to modulate convincingly. Keep in mind though, its one of the hardest things and most music just goes there without any preparation. Also, I just never get the sense I want to modulate while writing something for whatever reason.

since you're into non unorthodox stuff, may I suggest Coltrane changes for modulation?

No way. That's another instance of the music just 'going there' that I described. Improvising over the changes is surely impressive but the changes themselves hardly represent the best in modulation. Also, they are really more of a protracted chord progression. To modulate means to have an entire section of the music in a different key. When I'm talking about modulating convincingly, I'm talking about creating suggestions of where the music is going well beforehand as is found in classical music and rarely esle-where.

Thanks for the link to musictheory, it's pretty cool, I'll definitively use it

Let's say you have an idea for a melody or a simple chord progression, maybe both. So you map it all out in your DAW and produce a couple bars but then what? How do you make sense of what you just did musically and develop it further in a way that make sense and sounds right?

That's where music theory shines. As a helpful tool to systematically map out possibilities, nothing more. There's no such thing as a writer's block from a composing perspective because theory lays it all out for you. Music theory is not a substitute for real inspiration.

In my opinion, you can use those make the transition as long and complex as you want to, but whatever you say, buster

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Oh, the other thing I'd like to add is that I didn't create ANY music until I was 25. Also I don't know how to play any instrument (learning keyboard, though slowly) So hang in there guys. Don't fall for the "too late" meme. We're all gonna make it frens!

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How old are you again friend?

Don't the changes sound kind of strange and unnatural? Modulating from Ab-C is a tritone relationship, the absolute least "convincing" modulation you can make. Of course, as Vincent Persichetti notes in a contemporary post 2oth century musical milieu, you can literally do whatever you want but I would still look far into the past to ascertain what good modulation involves. That's just my perspective.

Now I'm 27.

instaud.io/3mdH

whoops, what the fuck am I saying. Its a minor 6th. Okay my point is, in the classical era modulation was achieved by moving through the circle of fifths. This is the most convincing way to modulate while parellel movement to an adjacent key is probably the second most convincing form of modulation. The changes sound unique for a reason because they are quite "out-there" in terms of what the ear receives naturally.

A scholar and a gentleman

I look at it as a transitional structure between Ab and Eb, like going to a note through its minor relative, besides, when entering Eb Cmajor becomes Cminor and that sounds cool

Obviously modulating to dominant or subdominant (or indeed relative minor/major) is going to give you that powerful classical sound but there's nowt wrong with chromatically sliding into the good ole diabolus in musica.

instaud.io/3meT
>C modulates to F# made in 1min by a dummy

Those changes are from a song called "all the things you are" and it uses the cycle of 5ths in varied extents (i.e. the last long section over Ab) to get trough several notes or 'tonal centers'.

Now, as far as I know, coherent musical structures are are self-similar in large and small scales. For example: a piece with a pulse that accentuates beats 1 and 3 will naturally tend to resolve and rest on odd bars while even beats and bars will be used for development and tension buildup, replicating the pulse's behavior on a larger scale.

If you take it to an even larger scale, as in the song, you'll notice that the first third and 5th section are the 'conventional' parts of it, while the 2nd and 4th are where the oddities come up. It makes sense because after a whole journey through the cycle of 5ths the ear is more willing to hear strange stuff, and that's the spot where you can take the necessary liberties to achieve a new tonal region, Key, mood change or whatever you want to call it. When you find yourself in that zone, you can call upon all kinds of dissonant, altered, superimposed, atonal structures that'll spice up your piece and take it to another level.

Coltrane changes, just as the cycle (of 5ts or 4ths), tritonal substitutions, modal interchanges, secondary dominants, and parallel movement are just different ways to connect two larger structures. You can make that connection as long and intricate as necessary, but in the end, the piece needs to rest, or else it'll become and get a sense of no direction.

When you've decided that it's enough spice and your piece has reached that new flavor you were looking for, you can keep developig your inital motifs, themes, chorals, responses, etc. everything under a whole new perspective, still coherent with your initial proposition.