angelic

Hi, there, I hope it's okay to post this, and I don't want to bring anybody down, but due to an upcoming divorce I have to sell my music software, which includes a full copy of NOTION and Miroslav Philharmonik. If anyone is interested, please PM me. Thank you, - A

Hey, Mark, I am just wondering since I can't read .MUS files... Why 6-2 in a minor key? That's a dim 5th but if you wanted it that way on purpose, that's fine. I normally think in numeric progressions because I am used to pop/rock songwriting/composing, but I am such a beginner in orchestral writing that I am both stuck and embarassed to admit, and very thankful for this forum. As an example, and the only reason I saw this, is that my favorite progression of all time is 1-6-3-7 in a minor key. I'll have to grab something that can read .MUS files. All I have is NOTION and sequencers like Cubase and Tracktion. Anyway, 15, eh? Good for you. Does your High School offer Music Theory? I took it in High School, too...but probably before your mom and dad...you know... Thank you for posting this! - A

First you learn "Stairway to Heaven," then you watch Wayne's World. Realizing you're a miserable sinner, you then smash your guitar a-la Hendrix style and beg forgiveness for not being able to play Eddie Van Halen's "Eruption" by your second lesson. (Sorry. Don't all roads lead to Rome?) :)

I just re-read your original post. If you're doing pentatonic, DON'T do Major pentatonic or it will sound like folk music from the Civil War. And be really careful if you're using minor pentatonic not to make it sound too Native American. If you add some minor seconds and minor sixths this should mask it pretty well. Just some guidelines - nothing too strict. Only one strict rule - "If it sounds good, it IS good." Take care, - A

I might offer some guidelines in writing for at least the melodic instruments. * You don't hear much major-mode stuff going on in traditional Japanese melodies. Mostly natural minor or phrygian (think natural minor with a minor second). * The melodies don't have very complex rhythms - a melody of 8th notes with a few 16th notes thrown in would "sound" very Japanese with the right instruments. * There doesn't seem to be a lot of large interval leaps, and the range of the melody isn't too much more than an octave, maybe an octave and a half - this is REALLY general. Of course, if you're doing an orchestral variation of the "traditional" theme you can go a little more wild here. * I don't know how to really express this next part, but the "recognizability" factor of the melody is not the main factor. Generally, it's not something that you'd "hum" or something like that - not like 1812 Overture or 5th Symphony. Keep in mind that traditions that surround a lot of Japanese culture deal with harmony (with the surroundings) and lots of time the melody is just made to have a sense of calmness and "ambience" to the air around. (Not ambience in the way 21st century thinks of it - like Dance-Techno ambience - reverbs on the snare, stuff like that.) Think like elevator music. But cool melodies. Cool instruments. And no elevator. Maybe "atmosphere" is a better term. * More along these lines, no "call and response" type melodies. You know, like "Michael, Row the Boat Ashore" where the first phrase ends on the 5th and then the second phrase "resolves" the whole entire melody with the root. Not a whole lot of that going on. I hope this helps. I love everything Japanese and used to live near a big Japanese cultural center in South Florida. Take care for now, - A