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2) Re: theory, Lee's write up is pretty complete, but it also depends on where you're going. If you're going back to G then yes, you're in G. If you're going to Eb then the F and Bb are transitioning chords helping you modulate.

 

Absolutely. Just as every transitional chord or note that isn't in the standard major scale doesn't signify a true key change, you don't always start on the tonic either. Where you go is as important as where you begin.

 

But in this case, with just the data available, it reads like G or G mixolydian to me.

 

Edit: if it were in the key of F at the start, the big tip would be that the lead or the melody would be toying with the Bb early on, creating a dissonant, bluesy vibe.

 

Ultimately, the notes that are weaving in and about tell you more about the key than just the chords.

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WOW! That DID turn out amazing. Breathtaking even. Still listening...

 

I'm hearing a This Mortal Coil influence in those drums.

 

Wow, thanks, that means a ton - TMC influence? in the kick or the clap, ha. (As an aside, if you want a surefire way to identify aging hipsters, plug in a bass at guitar center and start playing Kangaroo, and see who comes up to you. Works every time.)

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Absolutely. Just as every transitional chord or note that isn't in the standard major scale doesn't signify a true key change, you don't always start on the tonic either. Where you go is as important as where you begin. But in this case, with just the data available, it reads like G or G mixolydian to me. Edit: if it were in the key of F at the start, the big tip would be that the lead or the melody would be toying with the Bb early on, creating a dissonant, bluesy vibe. Ultimately, the notes that are weaving in and about tell you more about the key than just the chords.
What he said^^^
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If you haven't bought my album yet :angry39:... you can download it for free here.

 

https://www.dropbox.com/sh/pjbu1ftos..._p65qyoax8NQFa

 

I owe a BIG thanks to many of you... if you listen, you'll hear many of your suggestions in the final product. Sometimes entire lines!

 

Thanks for that - I'm listening right now. The album has its own flavour. What flavour will the next one be?

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8 bars of G

4 bars of Am

4 bars of C

2 bars of F

2 bars of Bb

 

What key is it in? And how do these chords relate to each other?

 

I don't have a lot of theory under my belt, but if I was thrown these chords I would probably work in the key of F major (right or wrong).

So I, IV, V in F and the G as a raised 2nd and the Am as a relative minor.

The melody would then have a different flavour to G Mixolydian.

 

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I don't have a lot of theory under my belt, but if I was thrown these chords I would probably work in the key of F major (right or wrong).

So I, IV, V in F and the G as a raised 2nd and the Am as a relative minor.

The melody would then have a different flavour to G Mixolydian.

 

Interesting. The F major scale with a raised IV is the Lydian mode.... which is the same thing as G mixolydian only it starts on F instead of G. With the first 8 bars on G and the next 8 on Am and C, I'd imagine that the majority of songwriters would naturally gravitate towards G mixolydian or even a simple G major (substitute F# for the F).

 

Essentially, even if your target is F lydian, with G being the only chord for the first 8 bars, it would take a great deal of will to not gravitate to G, B or D... because if you do you are actually doing G mixolydian.

 

Of course, you could sing/play a Bb instead of the B, which would lean much more in the F direction, but even with that it isn't definitive. Blues tunes use a G note over an E major chord to darken the tone, without it pointing to a D major key.

 

Just some rambling thoughts. Feel free to edify me if I'm off base on anything.

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Interesting. The F major scale with a raised IV is the Lydian mode.... which is the same thing as G mixolydian only it starts on F instead of G. With the first 8 bars on G and the next 8 on Am and C, I'd imagine that the majority of songwriters would naturally gravitate towards G mixolydian or even a simple G major (substitute F# for the F).

 

Essentially, even if your target is F lydian, with G being the only chord for the first 8 bars, it would take a great deal of will to not gravitate to G, B or D... because if you do you are actually doing G mixolydian.

 

Of course, you could sing/play a Bb instead of the B, which would lean much more in the F direction, but even with that it isn't definitive. Blues tunes use a G note over an E major chord to darken the tone, without it pointing to a D major key.

 

Just some rambling thoughts. Feel free to edify me if I'm off base on anything.

 

 

 

 

Huh??

 

fetch?id=31212795

 

 

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Interesting. The F major scale with a raised IV is the Lydian mode.... which is the same thing as G mixolydian only it starts on F instead of G. With the first 8 bars on G and the next 8 on Am and C, I'd imagine that the majority of songwriters would naturally gravitate towards G mixolydian or even a simple G major (substitute F# for the F).

 

Essentially, even if your target is F lydian, with G being the only chord for the first 8 bars, it would take a great deal of will to not gravitate to G, B or D... because if you do you are actually doing G mixolydian.

 

Of course, you could sing/play a Bb instead of the B, which would lean much more in the F direction, but even with that it isn't definitive. Blues tunes use a G note over an E major chord to darken the tone, without it pointing to a D major key.

 

Just some rambling thoughts. Feel free to edify me if I'm off base on anything.

 

 

This has been a cool discussion. I went to track a demo last night and sort of started songwriting. Made a thread http://www.harmonycentral.com/forum/forum/Forums_General/acapella-37/31212822-drowned-cicadas-wip-from-the-talk-about-whatever-thread

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Dude! The phase! Don't you know that having the mic upside down will invert the wave form and cancel out coincident pick up?

 

 

 

Just kidding. biggrin.gif As long as the fronts of the mics are both in front and one of the cables isn't polarity reversed, the phase will be as coherent as the angle/pick up/reflections allow.

 

How's it sound?

 

 

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I'd say the blues makes its own rules which have their own coherence but, as you note, can nonetheless be analyzed within the framework of western musical theory. Good thing, of course, because much of the music of the last century has had a fair bit of blues sneaking into its harmonic underpinnings.

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Dude! The phase! Don't you know that having the mic upside down will invert the wave form and cancel out coincident pick up?

 

 

 

Just kidding. biggrin.gif As long as the fronts of the mics are both in front and one of the cables isn't polarity reversed, the phase will be as coherent as the angle/pick up/reflections allow.

 

How's it sound?

 

 

It's a 'virtual' drum session. He's recording while I'm here at work... and sending me very rough unmixed draft. I think just a bit of EQ and Compression from the API going in. Sounds really good though... real drums really bring the songs to life. I have no concern over phase issues... Ron is a pro.

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But you know blue, they can fix that phase issue with using one, and only one, mike cable from Australia. Using the same scientific properties that occur with the toilet swirling in the opposite direction we're used to here...

Except when a kangaroo is playing a piano close by - then the water jumps up a few inches and disappears vertically.

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Tomorrow is the love of my life's birthday! A bunch of prezzies, a day off for me, a trip to the Wild Animal Park... Then dinner at Roy's in La Jolla with fam and friends. It's a selfish kind of fun to spoil the one you love. Right? I love it!

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