| If you're a musician you might be asking
| |
| | had just played, I've successfully
|
| yourself: "What does he mean by traveling
| |
| | transitioned from one key, or world, to
|
| from 'world-to-world?'" Well that's a good
| |
| | another without it sounding weird.
|
| question and I have a simple answer for
| |
| | Now I'm not the most savvy when it comes
|
| that. Let me share with you a recent
| |
| | to explaining music theory (even if it's
|
| discovery I happened upon while banging on
| |
| | my own music), but play out the bass notes
|
| the keys (that's "playing the piano" in
| |
| | and you'll hear what I mean. Add some
|
| music-speak) and trying to come up with a
| |
| | chords to those bass notes and you'll
|
| song.
| |
| | amplify your scope of understanding by
|
| I've gone through 6 years of formalized
| |
| | listening to the full spectrum of the
|
| Western Classical music training and 4
| |
| | music.
|
| years of Ethnomusicology studies and for
| |
| | This is a very basic example of what I
|
| whatever reasons, I never picked up a
| |
| | mean by traveling from "world-to-world"
|
| thing about the musical elements of
| |
| | but if you try this, you'll soon gain a
|
| structure, motifs, and dynamics in any
| |
| | whole new experience into music
|
| piece or composition. If it came to my own
| |
| | composition as well as simple music
|
| songwriting, I hardly ventured out into a
| |
| | appreciation. In essence, you're moving
|
| different key and mostly stayed in one,
| |
| | outside of your original key, or outside
|
| differentiating sections by production or
| |
| | of your world, by moving into that E flat,
|
| instrumental arrangements instead. I mean,
| |
| | which changes the sound seamlessly into a
|
| in theory I knew about those elements but
| |
| | new E flat Major while giving you the
|
| I hadn't grown into them until very
| |
| | flexibility to come back to your original
|
| recently.
| |
| | F Major.
|
| So as I dabbled on the keys some ideas
| |
| | Needless to say, this was an ear-opening
|
| here and there to try and transition from
| |
| | experience for me and provided me a
|
| section to section (perhaps with an
| |
| | renewed appreciation for past musical
|
| intention to escape my boredom of creating
| |
| | greats that didn't have technologies like
|
| songs in a mono-key structure), I
| |
| | sampling and sound engineering to alter
|
| accidentally hit a bass note that was a
| |
| | the timbre of their instruments. They
|
| relative 4th that did not belong to any of
| |
| | worked with what they had. And in a sense
|
| the notes in the key but was based on one
| |
| | I worked backwards by relying on
|
| of the octave notes in that key. For
| |
| | technologies to structure my sound. Now
|
| instance if I'm playing in the key of F
| |
| | I've got the greats to stand on their
|
| Major (which only has a B flat in that
| |
| | shoulders to integrate my future sound
|
| key), but I move to an E flat (that does
| |
| | fusing my present technological recordings
|
| not exist in the key of F) from a B flat I
| |
| | with their past arrangement innovation.
|
