Simply beautiful!

@Dinis_Brito

Ай бұрын

tysm really appreciate that!

Sounds great 😮!!! 👍👍 Really

@Dinis_Brito

Ай бұрын

Tysm!

satisfying affffffff

Great job, mate! I want to study Composition degree at the conservatory, and I would like to ask you several things, if there's no inconvenience: First of all, I think you answered this in other comment, but how do you figure out these chord sequences? I find it quite interesting. Also, how do you orchestrate a melody? I mean, I'm a pianist, but I have never transcribed a piano tune to an orchestral score. Do you know if there are any rules to follow when doing that? I hope not to disturb you, thanks for your attention. Have a great day!

@Dinis_Brito

Ай бұрын

I came up with this sequence by ear There are rules for orchestration but i dont know them, i kinda just go by ear and write what i think sounds good. Though ik thinking of buying books about orchestration

@BustyCaesar

Ай бұрын

Am - (weak) tonic function (aka feels like home. As no tonal key center is established yet its home effect can be stronger or weaker, but when relative to C major key it is the VI chord - weak home. So depends where this passage appears in a piece) Ab - modal interchange from parallel minor (referencing C major key). Flat VI of C minor - subdominant function. Adds movement and some tension Fm- modal interchange from parallel minor again. II chord of C minor - subdominant function. Prolongs movement and some tension E7 - dominant function adding a lot of tension, with strong tendency to point towards a resolutions to a new target A. Can see as secondary dominant pointing to VI chord of C major (aka Am) OR the V dominant of the relative minor of the C major (aka A minor key) pointing towards the I chord (Am). I would trend to the 2nd view as up to this point C major key tonality has not been established . Not addressing tensions for this analysis a bit lazy lol. Eb7 - dominant function, adding more tension and subverting expectations, now pointing to resolution in a different direction. Can be see as a secondary dominant pointing back to the Flat VI of parallel minor A minor (aka pointing to Ab again), BUT importantly it also functions more like a tritone substitution for secondary dominant pointing towards the II chord in C major (D) - which we will see is important in resolving back to C major (think of the classic 2-5-1 resolutions in jazz) A7 - dominant function, prolonging tension and this time maintains expectations of a resolution to D (previously Eb7 also pointed here, in fact Eb7 is a tritone sub of A7. It’s a secondary dominant pointing towards the II chord D (again helpful for resolving to C see 251s) Ab7 -dominant function, prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone substitution of the secondary dominant of V in C major, pointing towards G (V in C major). Aka tritone sub of the 2 in the 251 classic progression. Also remember the Eb7 2 measures back points here to Ab so this kind of fulfills that resolution Db7 - dominant function - prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone sub of the V chord in C major (G dominant), which now points to C. Again you can think it like a tritone subbing 5 in a 251 progression. C - finally, resolution! Resolves beautifully to C major. Key center is strongly established as the previous 4 measures have been pointing towards C as the I, the home chord ( think a prolonged subbed 6251 progression - strong tendency as this progression resolves wholly in 5ths). Hope this helps. I’m studying music on my own, particularly focusing in jazz. I highly recommend the Berkeley book to Jazz harmony.

@douwemusic

Ай бұрын

​​@@BustyCaesarAb is not the flat 6th of Cm, but the regular VI! Either that, or you meant to say that it's the flat 6th from the relative (not parallel) of Am, which is C major. But referencing C here makes little sense. The only indication of C being the key here is the last chord, and with all the stuff happening in between, there is nothing that indicates a "feeling" that these chords work towards a resolution of C. So, for theoretical analysis, I think it makes most sense to see the first two chords in isolation, and in that case, Am is a Neopolitan, but in minor (bii of Ab). The Fm to E after can be seen as a parallel of this, a major 3rd down, perhaps in a mediant relationship. Also, Fm is the iv of Cm, not the II!

@jesusestellesmico2457

Ай бұрын

@@douwemusic Thanks to all of you for your help! I don't know how you manage to justify all the chords that easily, honestly LMAO. I mean, I have knowledge of this, but it would be too hard for me to justify all those modulations 😂

@BustyCaesar

Ай бұрын

@@douwemusic​​⁠ My bad, yes Fm is the IV of C minor. And Ab is the VI of C minor. Was typing too quickly. I was responding to different comment (I just copied my response to respond to OP) asking how it fits in C so I was using that as a lens. Thanks for the perspective and yes does dependent on the context. I do agree on looking at the first part in isolation. But I do the hear the measures from Eb in a progression to C. Yes it is ambiguous but the tendencies are there

Some louis cole type string vibes here. Nice.

5th bar pure perfection 👍

@Dinis_Brito

Ай бұрын

its so satifying

Yeahhhh 😇

Esta entre las armonías más hermosas que he escuchado!!!

@uncertainity188

Ай бұрын

You should listen to more music

@Dinis_Brito

Ай бұрын

@@uncertainity188 wtf

@uncertainity188

Ай бұрын

@@Dinis_Brito This is hardly good harmony. Therefore, it's not among the best I have ever heard. Do you think your 'harmony' is the best? You, a random online composer?, better than the greats?

@Dinis_Brito

Ай бұрын

@@uncertainity188 did i every say it was the greatest? No. give me reasons to believe my harmony is bad *whos your favorite composer?

@Dinis_Brito

Ай бұрын

also i said wtf bc there really was no need for you to comment that under someone just trying to be nice to me

This would sound amazing with a choir! Lowering the top part of course😅

@Dinis_Brito

Ай бұрын

good idea might try that

How do you add all these chords to a c major ?

@Dinis_Brito

Ай бұрын

what exactly do you mean by that? do you mean how did i resolve to C major? its kinda complex i dont think ill be able to explain it here but if you want i can try to explain it

@NanaKwame96

Ай бұрын

Alot has to do with chord structure and chord functions. Study up some classical Chord functions and work your way up to late romantic harmony. Then have some fun with a bit of Jazz standards (e.g Misty) then look up Jazz harmony/functions and techniques (e.g Tritone substitution and chromatic mediant relationships) It is a bit much but trust me, it is well worth it.

@Dinis_Brito

Ай бұрын

@@NanaKwame96 yh that will help a lot

@BustyCaesar

Ай бұрын

Am - (weak) tonic function (aka feels like home. As no tonal key center is established yet its home effect can be stronger or weaker, but when relative to C major key it is the VI chord - weak home. So depends where this passage appears in a piece) Ab - modal interchange from parallel minor (referencing C major key). Flat VI of C minor - subdominant function. Adds movement and some tension Fm- modal interchange from parallel minor again. IV chord of C minor - subdominant function. Prolongs movement and some tension E7 - dominant function adding a lot of tension, with strong tendency to point towards a resolutions to a new target A. Can see as secondary dominant pointing to VI chord of C major (aka Am) OR the V dominant of the relative minor of the C major (aka A minor key) pointing towards the I chord (Am). I would trend to the 2nd view as up to this point C major key tonality has not been established . Not addressing tensions for this analysis a bit lazy lol. Eb7 - dominant function, adding more tension and subverting expectations, now pointing to resolution in a different direction. Can be see as a secondary dominant pointing back to the Flat VI of parallel minor A minor (aka pointing to Ab again), BUT importantly it also functions more like a tritone substitution for secondary dominant pointing towards the II chord in C major (D) - which we will see is important in resolving back to C major (think of the classic 2-5-1 resolutions in jazz) A7 - dominant function, prolonging tension and this time maintains expectations of a resolution to D (previously Eb7 also pointed here, in fact Eb7 is a tritone sub of A7. It’s a secondary dominant pointing towards the II chord D (again helpful for resolving to C see 251s) Ab7 -dominant function, prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone substitution of the secondary dominant of V in C major, pointing towards G (V in C major). Aka tritone sub of the 2 in the 251 classic progression. Also remember the Eb7 2 measures back points here to Ab so this kind of fulfills that resolution Db7 - dominant function - prolongs tension and points again to a new direction, subverting expectations. Acts as a tritone sub of the V chord in C major (G dominant), which now points to C. Again you can think it like a tritone subbing 5 in a 251 progression. C - finally, resolution! Resolves beautifully to C major. Key center is strongly established as the previous 4 measures have been pointing towards C as the I, the home chord ( think a prolonged subbed 6251 progression - strong tendency as this progression resolves wholly in 5ths). Hope this helps. I’m studying music on my own, particularly focusing in jazz. I highly recommend the Berkeley book to Jazz harmony.

@Dinis_Brito

Ай бұрын

​@@BustyCaesarholy shit you actually did it

A mí el día q mejor me viene es el miércoles 15

How is there an A7 without a c#? shouldn't it say no 3rd?

@Dinis_Brito

9 күн бұрын

There's a third but i wrote it as Db instead of C# its in the violas

@drumming_cat

9 күн бұрын

@@Dinis_Brito Probably should rename it

@Dinis_Brito

8 күн бұрын

@@drumming_cat no? its the same thing

@Dinis_Brito

8 күн бұрын

ik that in theory its not but in reality who cares

@drumming_cat

8 күн бұрын

@@Dinis_Brito It's just weird to have a diminished 4th above the root of the chord and especially if there are cxhord symbols people expect some sort of A major to usually include a C# also it's not like it makes the viola part more unreadable to change it to a C#

00:20 to 00:29 what even

What did this achieve?

@Dinis_Brito

24 күн бұрын

Mostly experience and getting used to writing for strings and how it sounds

@AndreyRubtsovRU

24 күн бұрын

@@Dinis_Brito fair enough. I guess my understanding of string writing comes from differences for each instrument of the strings and bowing - how it relates to phrasing etc... this seemed to go in opposite direction :-)

E