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