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19

The key change you are describing is known as a Chromatic Mediant Relationship. This type of modulation rose to prominence in the Romantic Period and has been used by composers and musicians ever since. Chromatic Mediant Relationships are ones in which the roots or tonal centers of the keys are a non-diatonic 3rd apart. If diatonic (within the key), it ...


14

Perhaps it was EBow. It amplifies string vibrations (using magnetic fields) providing very controllable feedback effect which allows to get very smooth and sustained sound. Also check out this video on Youtube. Although it is old it demonstrates very wide range of possibilities of this device.


10

You were right on when you said that this chord "toys with switching to the minor scale." In classical musical analysis, the major chord built on the flattened third is considered a "borrowed chord", a chord that is borrowed from the minor version of the key. In Roman numberal analysis, it is written exactly as you would expect: ♭III. Like many other ...


9

You can study the playing of the great "guitar-ish" keyboard soloists: Jan Hammer with Mahavishnu Orchestra on a Minimoog, Jon Lord with Deep Purple on Hammond organ, and possibly Keith Emerson and Rick Wakeman on Moogs. Jordan Rudess, with Dream Theater (on all sorts of synthesizers) deserves prominent mention as well. All of them would say in interviews ...


9

My favourite rockin' sound is a good old Fender Rhodes, overdriven so it starts to break up when you play chords or when you really dig into a note. I've played at a couple of parties with just this sound, and it does a wonderful job of "filling the room" as you say. As for playing style, I find that playing a lot of open fifths helps. I've heard guitarists ...


7

I think that the differences you mentioned have more to do with the size of the groups involved than their preference for classical or rock music. Also, I'm willing to wager that there is as much diversity in terms of goals among members of the same category (rock or classical) as there is between the two. You mentioned orchestral music, but that is only a ...


6

Adding to @Casey Rule's answer: the set of chords that generally works with a key are (in C) C, Dm, Em, F, G, Am and Bo, with their 7ths if appropriate. There is also, in theory, the set of chords from the 'parallel' minor.In this case, Cm - (relative major being Eb). This gives the chords from Eb major - Eb, Fm, Gm, Ab, Bb, Cm and Do.There's now a far wider ...


5

Wow - that song has a ton of words! And as you said, there is not really a chorus that repeats over and over. This one would be a challenge for anyone and it will take some persistent practice. Storing these lyrics into long term memory will best be accomplished by spacing the learning process over a longer period of time rather than cramming it in in a ...


5

Two basic philosophies. First is, set everything at 12 o'clock (halfway) and adjust everything up or down until it sounds right. Second is, dime everything (all the way) and back things down until it sounds right. If it doesn't already. There are other things to consider. A common metal thing is to max the bass and treble and pull back on ("scoop") the ...


5

You also need to study the way that chords are voiced on the guitar, which is determined by the layout of the strings of the instrument. As an introductory example, to a rock guitarist, the basic form of the E major chord contains six notes, while the A major chord contains five notes, but the D major chord contains four notes. Here are the exact voicings of ...


5

There are a few examples of screaming in Western classical music, but only as a coloristic effect; I am not aware of any compositions where it is used on a sustained basis the way it is in heavy metal. Some of these are when the music imitates styles such as blues or rock. Some examples: There are some primal screams in the first movement of Orff's ...


4

Where it's used is irrelevant. No genre demands a particular type of voice, a particular sound, etc. Well, opera demands some special usage of some muscles, but other than that you find all sorts of characters dipping into all kinds of genres. That being said, it is true that a lot of rock artists have higher tenor voices, but that doesn't mean bassier ...


4

I think this is kind of a broad question, and when you say screams in rock music it's kind of a different definition to how it is used everywhere else. I think of everything from Deep Purple to Iron maiden, opeth and beyond in rock, but in everything else it can have multiple meanings. When I started searching it seemed that Bel Canto has some early ...


4

The drum kit does not feature much in Traditional Irish music. Why not sit down at your kit with headphones and play along with some of the pogues numbers or whatever songs you'd like to be able to play? There are apps and software to slow the tune down so you can figure out what the drummer is doing. But as you say, the style is mostly based on rock and ...


4

One other thing that took me MANY years to realize. The best EQ and tone settings to please your ear in a room by yourself are going to be surprisingly different from the ideal tone when you play with other instruments, and especially when recording. For example, the best guitar sound when a keyboard / synth is playing chords is often much more treble than ...


4

Just to add to the great post from RC - there's lots of imagery in that song. In cases like that, one thing I sometimes do is visualise the scene that the song is describing. Then when singing the song, all I have to do is get the picture in my head again, say what's going on in the scene, and out come the lyrics (hopefully!)


3

Adding an ♭III on top of a I will give you the same notes as (albeit spelled differently from, and, i.m.h.o. more correctly than) the "Hendrix chord", or, more officially, the Dominant seventh sharp ninth chord, a chord that is used a lot by rock guitarists. An example: Because it has both a minor and a major third, it sounds very "bluesy", although it ...


3

Think about what you want with your band. Are you looking to go and tour the world? Are you looking to play local clubs while you're all working? Something in between? Next, consider how important this album is to your goal. If this is just a demo, it's probably alright to release, and if you're constantly writing and will have something new next year that ...


3

Though this question seems quite broad, the answer here is actually simple. If you want to write music that sounds like it is from the 60's-70's (or any style / era of music,) three things will get you started: Listen to that type of music Transcribe that music Write that music You need to get it into your ears and head, figure out what makes it work ...


3

First, let's make a distinction: When you say "bassy", are you talking about the tone of your voice, or the pitch range of your voice? Your pitch range, or voice type (bass, baritone, tenor) is not something you can change, but you can learn to expand your range. If by "bassy" you mean the tone you produce rather than the pitch range, then voice lessons ...


2

Am it is until your stated 3:28 mark.Then it goes into more like E maj. Then about 4:10 ish it modulates back to Am.It doesn't have to have a lot to do with the original key.Although the new key of E is the dominant of Am.This E maj spawns the relative minor of C#m, so that's where that comes in. A song, say, in C can modulate (change key) up to C#. None of ...


2

It seems to me that the C#m chord is a flavoured substitution for the C+ (C augmented) chord that is built from A harmonic/melodic minor. The notes in C#m are as follows: C# E G# The notes in C+ are as follows: C E G# Because there is only one note difference this substitution is easily achieved. Another thing to notice is that there is a C in ...


2

Some good comments - to recap and add my own twist: When the guitar is playing bar chords, the main notes are 1-5-8 (F-C-F, etc.), an octave with a fifth in the middle. Keyboardists are tempted to throw in a third. DON'T! Two reasons - 1) the guitar usually does not play the third; and 2) if the guitarist is wrong picking major or minor (keyboardists are ...


2

In The Phish Book, band members explain that their improvisation was based on what they called "The Circle Game." Band members would face each other and one band member would start a riff. Each band member would then experiment and add to the riff until they all thought that they were locked on the riff and that the riff had been taken as far as it could. ...


2

If you are using distortion then typically you would start by having bass, treble and mid set at halfway. Increase the bass and treble with no mid you will get the metal tone. Most players keep the mid, bass and treble pretty close in values with each other then adjust the settings slightly depending on the type of guitar and genre. I see most top 40 ...


2

The best way to get the sound you desire is just to play around with the settings. A rock sound makes me think of more overdrive usually, but it depends on your situation. You can get infinite suggestions for what people like to do with their guitar, but they will mostly all be different and ultimately you just have to listen for yourself to find what you ...


2

Once your music hits the public domain, it no longer belongs to you It belongs to your fans. Even if you do label it as a DEMO and release a good studio version later, some fans will prefer the DEMO. If your putting something in the public domain for all to see, its needs to be completed to a quality you all satisfied with as a band. If you release ...


2

Perhaps it's about the difference between a recital and improvisation - Classical musicians tend to have learnt to read music, and sight-read from that while playing. Rock musicians tend to play from memory or by ear. So I can see an argument that Classical is more about a recital, so fall into the description you give above, and some rock is more like ...


1

Realizing that my guitar was a mid-range instrument helped me find what I believed to be the most satisfying tones i.e. not chasing extreme treble or bass. I have found distortion is good for tightening up the sound a little bit, and higher distortion tends to work better for single note passages and diads than it does for chord work. In general terms ...


1

People 400 years ago in the Baroque era did not like "Bach-ique polyphony music". Music for high society and for the people had diverged. With the weakening of class borders, an increase of come-uppance and decadency, Baroque polyphony went down the drain (Bach was one of the last outposts) and was superceded by music more suitable to the nouveau rich and ...



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