Keys
- Thread starter Walls1441
- Start date
Here's the best way I can explain it...
When laying the 12 tones on the clock, I try to arrange the notes so that I find lots of cool note patterns that create different tonality, so that the song will have lots of different coloring. Once you get your groups of notes worked out with various visual patterns, you can play the notes as many times as you want, in any pattern, repeat them as you like in any order, etc
http://www.ronjarzombek.com/rj12tone2.html
Speaking of the instructional DVD, I've got 2 solos left to record on the Blotted Science recordings, then lots of production work. After that I return to the DVD.
Ron
When laying the 12 tones on the clock, I try to arrange the notes so that I find lots of cool note patterns that create different tonality, so that the song will have lots of different coloring. Once you get your groups of notes worked out with various visual patterns, you can play the notes as many times as you want, in any pattern, repeat them as you like in any order, etc
http://www.ronjarzombek.com/rj12tone2.html
Speaking of the instructional DVD, I've got 2 solos left to record on the Blotted Science recordings, then lots of production work. After that I return to the DVD.
Ron
maybe you answered this and i still don't understand, but what i'm asking is is there any particular logic to ordering the key in any certain way
http://www.ronjarzombek.com/rjsynaptic2.jpg (for example)
As far as i could tell it doesn't seem to be any specific pattern. I tried just randomly ordering the notes from 1-12 for the clock but i felt like there should be a little bit of logic (circle of 5ths, even numbers-odd numbers) involved in making it- which would have a higher chance of leading to actual patterns.
and of course i look forward to both Blotted Science and the DVD.
http://www.ronjarzombek.com/rjsynaptic2.jpg (for example)
As far as i could tell it doesn't seem to be any specific pattern. I tried just randomly ordering the notes from 1-12 for the clock but i felt like there should be a little bit of logic (circle of 5ths, even numbers-odd numbers) involved in making it- which would have a higher chance of leading to actual patterns.
and of course i look forward to both Blotted Science and the DVD.
progmetaldan
Member
Walls,
That the cool thing about the Circle. You'll may end up with symmetrical patterns of notes, or you may not. That's what creates the wacky tonality of it. One thing I really need to stress though is you have to know common music theory to use it. For instance, if the notes A C and F# pop up, you should know these notes fit into the G Major/E minor scale, E harmonic minor, form an F# diminished triad, are the 3rd 5th and 7th of a D7 chord, etc... If the notes C D and E pop up? C Major scale, C whole tone, CM add 9, etc...
Without the knowledge of common music theory, you're just working with a bunch notes. With theory, you've got a road map leading to lots of different places.
Ron
That the cool thing about the Circle. You'll may end up with symmetrical patterns of notes, or you may not. That's what creates the wacky tonality of it. One thing I really need to stress though is you have to know common music theory to use it. For instance, if the notes A C and F# pop up, you should know these notes fit into the G Major/E minor scale, E harmonic minor, form an F# diminished triad, are the 3rd 5th and 7th of a D7 chord, etc... If the notes C D and E pop up? C Major scale, C whole tone, CM add 9, etc...
Without the knowledge of common music theory, you're just working with a bunch notes. With theory, you've got a road map leading to lots of different places.
Ron
Ooopppsss. Make that..."That's the cool thing about the Circle. You may end up with symmetrical patterns of notes, or you may not"...
Ron
Ron
yeah yeah yeah, i know all of that. I guess don't really know how to phrase my question. I'm just wondering if you've found that the ordering on the clock 1-12 works better if its generated randomly or not. Rather i was wondering what 12 tone patterns there are other than the circle of 5ths for example.
progmetaldan
Member
Pilgrim,
Great point!
Here are the sheets that Alex and I used to write a bunch of tunes for the Blotted Science recordings. Just take a look at the groupings and I've made a few "notes" as to what scale I may play in, what chords/clusters are formed, etc...
And how did I arrive at these "keys" or arrangement of notes on the clock? I just put the notes anywhere and started goofing off with groupings. If any cool tonality was created, I left it. If a note's placement was causing problems or wasn't serving any purpose, I'd move it and replace it with another note. But once you have your notes in place, THAT'S IT. I guess if you REALLY need to change a note after your "key" is set in stone, you can (I suppose), but that would mean you are writing "out of key". And of course the whole purpose of the system is out the window.
Laser Lobotomy
http://www.ronjarzombek.com/12tonekey180b.jpg
Bleeding In The Brain
http://www.ronjarzombek.com/12tonekey208.jpg
Synaptic Plasticity
http://www.ronjarzombek.com/12tonekey205.jpg
The Insomniac
http://www.ronjarzombek.com/12tonekey138.jpg
Ron
Great point!
Here are the sheets that Alex and I used to write a bunch of tunes for the Blotted Science recordings. Just take a look at the groupings and I've made a few "notes" as to what scale I may play in, what chords/clusters are formed, etc...
And how did I arrive at these "keys" or arrangement of notes on the clock? I just put the notes anywhere and started goofing off with groupings. If any cool tonality was created, I left it. If a note's placement was causing problems or wasn't serving any purpose, I'd move it and replace it with another note. But once you have your notes in place, THAT'S IT. I guess if you REALLY need to change a note after your "key" is set in stone, you can (I suppose), but that would mean you are writing "out of key". And of course the whole purpose of the system is out the window.
Laser Lobotomy
http://www.ronjarzombek.com/12tonekey180b.jpg
Bleeding In The Brain
http://www.ronjarzombek.com/12tonekey208.jpg
Synaptic Plasticity
http://www.ronjarzombek.com/12tonekey205.jpg
The Insomniac
http://www.ronjarzombek.com/12tonekey138.jpg
Ron
the_satanic_rabbit
Return of Ganon
If you want a tool to experiment with, you can download the program that I started writing a long time ago.
http://sourceforge.net/projects/musickwrx
I haven't done anything with it since I first put it up. It can be pretty difficult to use, but once you know how to use it, you'll be able to come up with all kinds of cool stuff.
progmetaldan
Member
I hate it when people say they don't want to know theory because 'it will affect their creativity or art, and make it too formulated or whatever'... That's crap... As I said on the James Murphy forum, knowing more won't take away anything, it'll just give you more options and ways to use you creativity...
thats not exactly what i meant, in fact its the opposite. was just looking for a different way to generate chord progressions/riffs that was a little less inside my head. Things i've been writing recently all seem to sound a little too similar to other things i've written or other music, and so far it has been working. thanks ron.
progmetaldan
Member
It's cool, I wasn't referring to you, I was speaking of many other guitarists opinion of theory... I just think it's an excuse for not trying...
