angular movements using extension chords

W

walters

New member
angular movements using extension chords


1.) When i use the 6ths,7ths,9th,11th,13ths chords when i connect them, they sound "" ANGULAR" movements ,what am i doing wrong?

a.) Use chord inversions to try to connect them more "step wise" together
b.) How else can u "Avoid" making the 6th,7th,9th,11th,13th unresolved or angular?


2.) When composing melodies how can u "avoid" having a melody be Angular?


3.) Most of my problems is trying or knowing where to put the 6th,7th,9th,11th,13th notes at because they sound very "Angular" why is that and what am i doing so wrong


4.) My Modulations to different keys sound very "angular" why is that? what am i doing so wrong?

5.) When using a Pivot chord to modulate , the pivot chord sounds good but the next chord after the pivot chord is going to be Non-diatonic (from another key) it sounds "angular" how can i make it sound more smooth to the ear?
6.) When using borrowed chords in chord progressions , the borrowed chords sounds very "angular" how can i make it sound more smooth to the ear when using borrowed chords?
 
In the words of John Cage "The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason."

Now, consider angular beautiful.

Problem solved.
 
yes what does come first the extension chords or the vocal melody line with alterations built in ?



Cause the vocal melody line for "GOD ONLY KNOW"S has built in alterations thats why brian wilson used slash chords,dimin,m7-5,etc,m6 chords





:to arrange the chords so that the top voice in the chord progression is the melody line?



Yes it seem like this is how they start but still how do u arrange a vocal melody with built in extension/alteration notes



It seem you would have to being playing these extension/altersion chords in the first place with the vocal melody on the top voice /of the voice leading in the accomplyment right?



1.) Yes i don't know how to write a melody inside the voice leading in the accomplyment how would u start please?



2.) How to take the voice leading and make a melody out of it ? where would i start??
 
walters said:
1.) Yes i don't know how to write a melody inside the voice leading in the accomplyment how would u start please?

2.) How to take the voice leading and make a melody out of it ? where would i start??
Click to expand...

Sometimes the river shapes the land; sometimes the land shapes the river.

I find a good buffing with an orbital sander takes the angles of both chords and melodies. Watch out for the extensions though, they brake off easily and cause splinters.

I’m so frightened I mocking a genius? But as long as Walter remains enigmatic we can only place our interpretations on him. I’m so weak I’ll go with the crowd!
 
ok.. a serious answer for a second... if you have to try to get them to fit... they dont belong.... best way to write melodies is away from your instrument... that way your technique (or lack of) doesn't detirmine where it goes... then imagine the chords they'll fit perfectly... then the bitch is to find them after the fact....


we now return you to your regularly scheduled program....
 
There's nothing wrong with angular.

I like angular.

But I like atonal too, so you may not hear it as I do.





All that really matters is rhythm anyway.;)
 
ez_willis said:
Not if the music is already written and recorded. Trust me on this. :p
Click to expand...

perhaps that's just way too zen for me ... i thought he was asking about the creation... so in your little world the essense of the melody is somehow a presage of it's very creation.... interesting... ya done with that bong???? i think i;m starting to dig the whole essense thing....
 
dementedchord said:
perhaps that's just way too zen for me ... i thought he was asking about the creation... so in your little world the essense of the melody is somehow a presage of it's very creation.... interesting... ya done with that bong???? i think i;m starting to dig the whole essense thing....
Click to expand...

I meant vocal melodies to an already written musical arrangement. And yeah, been done with the bong for a decade.
 
Where do bongs go when they die? Is there like a 'bong graveyard' that great-white-bong-hunters set out t find?

Look if we are going to get serious for a minute - I don't get the whole angular and extensions thing! Extensions are used to reduce angularity. If I play an extension (Cmaj7) I have created a new triad over the tonic triad (Em over the C-E-G) - Em while living in C scale also resides in D (C#&F#) and G (F#) - the use of the exstension prepares the listen better for the modulation into those keys then the C triad alone. This can be further helped by chord inversion as well.

I think Walter if your melodies sound angular then they are in themselves angular moving between distant keys and they chords that accomapny them (depending on your choices) actually increase the angularity.

I think maybe Walter you are angular? (I know 'obtuse gag' has already been cracked) So perhaps your music manifest this or maybe it is the Shiraz (Syrah - for those Francophiles) turning me into a brilliant philosopher again.
 
ez_willis said:
I meant vocal melodies to an already written musical arrangement. And yeah, been done with the bong for a decade.
Click to expand...

ok... understood... i never approach a song that way... IMHO it leads to weak melodies... and the melody IS the song...

back to angularity... and we've never defined it so that tends to make it difficult... but for me angularity would suggest way too much paralell movement and as such poor voice leading... remember to inject some contrary motion... also try to resolve 3rd's up and 7th's down by step... not just with dom7th chords though obviously it's more compelling at that time...
 
After reading the thread a few times I'm still not clear about what you mean by "angular".
Maybe you could post an mp3 to help me(us) out.
Melodic contours should support the lyric and large moves (6th or greater) tend to add drama and emotion . When you do this, sometimes a more dramatic harmonization (extended or polychords)will further heighten the effect. In a perfect world these tricks will only be used when the lyric calls for it.
Maybe that's what the problem is. Can't really get definitive w/o a sample though.
Sometimes "angular" is exactly what is called for.


write onnnn


chazba
 
You must log in or register to reply here.
Back
Top