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djbmc wrote:I think ppl need to remember that music came first and scales and keys were developed to help explain why some notes sound good together and others don't, of course if you're having trouble moving your sequence of notes onwards and want some kind of scale to work in then you're right to try and figure it out. That doesn't mean that what you're playing are all notes within a standard western scale, it could be a plain diatonic progression.
jesus christ, thank you. i've been saying this for ages. all theory is is a way to explain to other musicians why something sounds good, or how to play it. people creating masterpieces never think to themselves: hm, what key am i in? none? better scrap the song.
I was in the exact same situation with these same notes (and it was a bassline too) some time ago... If I recall correctly, I added some synth chords and a melody on top just playing by ear and then figured out that the riff had a key change from B harmonic minor to Amaj
Ashta wrote:I was in the exact same situation with these same notes (and it was a bassline too) some time ago... If I recall correctly, I added some synth chords and a melody on top just playing by ear and then figured out that the riff had a key change from B harmonic minor to Amaj
what does that even mean
did it sound good or bad? that's the only important thing...
.onelove. wrote:How do you know what the root note is?
I've never understood for instance, why A minor is supposedly different to C major, when they're using the same notes? How would you be able to tell one from the other.
"Everything is on the one."
More than 9 times out of ten, the first note of the melody to land on the first beat of a bar will be the tonic of the key. Even more so for bass notes.