music theory: chord structures

[O'love]

Hello,

i am struggling a lot with bringing more "Advanced" music theory into my music, ie trying to find good chord-structures that work nicely with the basslines etc.

any tips, links, hints etc? do you all have a formal music education?

Olaf

[sezy]

nice one, i'm interested oin this too.

[Bande-A-Part_NYC]

What do you mean by advanced?

What "level" are you at?

More details...

[Bill Blake]

My suggestion is that you get a ‘real book’ a comprehensive one (or good one) meaning it has really good Jazz standards (some real books suck).

Start studying the chord progressions you like (hint there are the more interesting ones like Cherokee and Giant Steps).

Now the trick is to learn all the possible substitution chords for the chords (alone) in the standards and the progressions (combined meaning all the possible subsitutions for each chord in the progression being studied really gives you a lot of ideas to play with).

This way it makes it fun because you are actually learning with real tunes instead of chord theory and its actually very practical.

For advanced theory regarding chords in modern composition, it really doesn’t hurt to get a catalog of Thelonius Monk’s work and especially Mingus.

Those two did some really interesting things with chords and progressions.

Take my advice, this is a really godd way to learn that shit and do what you asked about.

[ December 17, 2003, 09:26 AM: Message edited by: Jamie Lennox ]

[Bill Blake]

Oh I forgot the main point is that its the substitution chords that will give a more creative way of thinking of your basslines underneath your chord progressions.

Sorry.

[O'love]

Originally posted by Bande-A-Part_ NYC:
What do you mean by advanced?

What "level" are you at?

More details... i know a little about chord-theory and can play some chords and progressions, but i would love to hear some of that music theory specified for house and disco music..... i guess a lot of "classic" jazz progressions are used?

Olaf

[Bill Blake]

Fuck this forum.

You give somebody the best advice around and they dont even respond.

Olove just keep your Day Job.

Thats the best advice I can give you.

[Bande-A-Part_NYC]

Originally posted by Jamie Lennox:
Fuck this forum.

You give somebody the best advice around and they dont even respond.

Olove just keep your Day Job.

Thats the best advice I can give you. Go back to the drama, oops I mean "Deep House and Disco Talk" forum with that attitude!

Olove, please thank him so we can all be happy...

[O'love]

jeez jamie! i can't do anything in 5 seconds!
of course i want to thank you for your response.....but instant gratification never is good ;)

your response is really appreciated, truely!

Olaf

[GROOVE VICTIM]

Originally posted by Jamie Lennox:
Fuck this forum.

You give somebody the best advice around and they dont even respond.

Olove just keep your Day Job.

Thats the best advice I can give you. Jamie, I'm glad you brought up "Cherokee". My music teacher back in highschool beat that tune into my head in order for me to understand chord progressions. It's a good tune to learn how to move around a keyboard. Once you understand the structure of the song, it can be really easy to play.

Peace

[Bande-A-Part_NYC]

Originally posted by GROOVE VICTIM:
Jamie, I'm glad you brought up "Cherokee". My music teacher back in highschool beat that tune into my head in order for me to understand chord progressions. It's a good tune to learn how to move around a keyboard. Once you understand the structure of the song, it can be really easy to play.

Peace [/QB]Link?

[Drrtynewyork]

Originally posted by Jamie Lennox:
Fuck this forum.

You give somebody the best advice around and they dont even respond.

Olove just keep your Day Job.

Thats the best advice I can give you. hahah retard

[C hristian]

Jazz music theory rules apply, unless you are trying to do something classicaly-based. in house/disco, most likely , you are not.

i say this to distinguish from classical music theory - Western Common Practice.

If you know what I'm getting at.

But it wouldn't hurt to study a little Bach anyway, since he was the original jamming jazz cat.

other than making this distinction, JLo's advice applies.

[C hristian]

but if you want some amazing harmonic progressions, check out Faure, Debussy, Ravel, Berlioz...the romantics, etc! Those guys are amazing!

Charlie Parker's solos? It's got straight-up Stravinsky symphonic passages in there. He admitted to this once.

forget about the modern / 20th century modern classics / composers for this. Those guys were cool and all, but tehy didn't know how to dance! (except for Bernstein and his stuff. Hell, he was dancing at Studio 57 after his NYC gigs!)

[C hristian]

my formal music education, btw has given me a lot, but not necessarily that which is needed. education is what you put into it and get out of it, and formal education is learning somebody else's rules.

and rules are made to be broken,....eventually.

just a thought.

[larry rauson]

I'm absolutely salivating somebody give an example of substitution please I'm begging

Dr. Rauson, Esq.

[socratez]

Learn your chords by heart.

You can do this by play on a c,, every thinkable chord wich sounds interesting or remotely interesting. Write them down on paper,,, and play all those chords on other scales.

For instance when you play a( c- e- g- b_chord) on a c, you have to play (d fis-a-cis) tog get the same chord on a d.

Play around with that, and when you got that, start combining different chords.
This is the way i learned it without any training. I dont even know the names of the chords but i do know how they sound and when i should use them

[socratez]

WHen i first heard Debussy my first thought was: Jeezzzz this sounds like Bill Evans



Originally posted by C hristian:
but if you want some amazing harmonic progressions, check out Faure, Debussy, Ravel, Berlioz...the romantics, etc! Those guys are amazing!

Charlie Parker's solos? It's got straight-up Stravinsky symphonic passages in there. He admitted to this once.

forget about the modern / 20th century modern classics / composers for this. Those guys were cool and all, but tehy didn't know how to dance! (except for Bernstein and his stuff. Hell, he was dancing at Studio 57 after his NYC gigs!) smile.gif

[C hristian]

if there was one thing that was banged into my head (listen up! we are talking the product of big money and time, here!) in music theory at 8am every weekday morning, it's this...


"Circle of Fifths"


that's your key to the answer to every harmonic problem you are facing right now, provided you are following common practice or Jazz harmonies. I'm not talking modal music or Japanese Gagaku, or anything like that!

[larry rauson]

Originally posted by socratez:
Learn your chords by heart.

You can do this by play on a c,, every thinkable chord wich sounds interesting or remotely interesting. Write them down on paper,,, and play all those chords on other scales.

For instance when you play a( c- e- g- b_chord) on a c, you have to play (d fis-a-cis) tog get the same chord on a d.

Play around with that, and when you got that, start combining different chords.
This is the way i learned it without any training. I dont even know the names of the chords but i do know how they sound and when i should use them Very, Very dangerous...

Larry

[C hristian]

Jeezzzz this sounds like Bill Evans


other way around since, Debussy was dead before Evans was living, but yeah, I know what you mean! The more history you learn the more there is to learn.

[C hristian]

don't get too attached to chord names, as 1 chord can have multiple names, depending on the context.

simplicity simplicity simplicity

[Bill Blake]

Originally posted by O'love:
jeez jamie! i can't do anything in 5 seconds!
of course i want to thank you for your response.....but instant gratification never is good ;)

your response is really appreciated, truely!

Olaf Ha ha ha ha

Ok.

Good luck!

And shut up Larry. Ill give you your damn definition after this week of hectic work is done.

Ive only got a enough time to be a smart ass on the board, not in depth.

[lesysteme]

http://www.amazon.com/exec/obidos/tg/detail/-/1883217040/102-9192525-5933738?v=glance

mark levines jazz theory book is apperently very good.

for disco and house and techno, i wouldnt worry too much about shedding on charts like cheroke and other jazz standards, as the rely on multiple uses of II-V progessions and shifting tonal centers.

for house and disco, the sounds is primarliy based in the II chord of any tonal center ie: the "key"

so in C (lets say), we're mostly dealing with the minor chord on d minor.

so leaning voicings and chords that work in minor settings will give the sound your looking for.

jazz minor standards ofter use flatend 5ths and then flatened or raised 9ths that are then used to lead into either a majorly based ii-V or a dominant minor if the progression is a minor blues lets say. a much different sound that what house is based on


so using the 9th and 13th on a minor or dorion mode chord is a common sound used in house and disco.

also lean pentatonic scales and "blues" scales for the basis for alot of the classic basslines, "love is the message" comes to mind instantly.

[Bande-A-Part_NYC]

Is that why all House sounds the same? Hahahaha...

Hey Larry, I like how you did THAT thing you did with that Desiya remix. I wanna do that shit!

[socratez]

I was joking man!!!.
:rolleyes:
Im from Holland, over here we grow up with Debussy and shit,and get to jazz later on in life


Originally posted by C hristian:
Jeezzzz this sounds like Bill Evans


other way around since, Debussy was dead before Evans was living, but yeah, I know what you mean! The more history you learn the more there is to learn.

[socratez]

DId anyone had any eartrainig/solfege???

Im looking for some software, maybe it will help me training to recognise chords and progression,,, would be good for you to olaf

[martino]

Originally posted by lesysteme:
http://www.amazon.com/exec/obidos/tg/detail/-/1883217040/102-9192525-5933738?v=glance

mark levines jazz theory book is apperently very good.

for disco and house and techno, i wouldnt worry too much about shedding on charts like cheroke and other jazz standards, as the rely on multiple uses of II-V progessions and shifting tonal centers.

for house and disco, the sounds is primarliy based in the II chord of any tonal center ie: the "key"

so in C (lets say), we're mostly dealing with the minor chord on d minor.

so leaning voicings and chords that work in minor settings will give the sound your looking for.

jazz minor standards ofter use flatend 5ths and then flatened or raised 9ths that are then used to lead into either a majorly based ii-V or a dominant minor if the progression is a minor blues lets say. a much different sound that what house is based on


so using the 9th and 13th on a minor or dorion mode chord is a common sound used in house and disco.

also lean pentatonic scales and "blues" scales for the basis for alot of the classic basslines, "love is the message" comes to mind instantly. Interesting how you interpret the dminor as the II. If the song is always on a dminor bassline, wouldnt that mean that the tune is in dminor? Usually any turn-around that would occur would resolve back to the dminor not a CMajor no? i guess we'd have to mention a song for an example. So "in the key of" and "tonal center" are kind of different in my mind. Not saying youre wrong by the way, but i noticed a lot of horn players think that way. "Impressions in CMaj...say what?"

o'love -> take jazz piano lessons, getting your tunes to a more harmonically advanced place will happen when you undestand how to add movement under a melody and over a bassline.

[C hristian]

in this case the tonality is d the modality is dorian. when you ask what key it's in, you are really limiting yourself to 2 modes. ionian or aolian. asking for the key is a short-hand way of communicating the tonality and modality.

in jazz, they usually find a way to get around inprecise verbal communication.

[O'love]

DHP dropping some knowledge ;)

thanx peeps!

Olaf

[C hristian]

i don't know about software for solfege, but how do you think that would help olove?

Oh...I'm reading, I see.

First of all , Solfege in the US uses the "movable Do" system. So whatever is your tonal center is Do. IN EUrope, Do is fixed. It's always at C. So 2 different systems. This may get too involved. I don't know. Try it for fun, if you want. It takes a long time to master unless you have perfect pitch, or something.

INterval training and chord identification WOULD be a very useful thing however. LEarning your intervals. Example : "Maria , MAria , I just met a girl named Maria" from West Side story. From "MAr -" to "Ri" is everybody's example of a tritone (augmented 4th/diminished 5th). Tricks like that for every interval until you get good at interval identification. Chord IDing is trickier. KNow major from minor, sure, but then dimin, augmented, major minor 7th, minor minor 7th, augmented 9th...
it just goes on and on. As if you don't kill enough hours on music every day.

[C hristian]

I was joking man!!!.
:rolleyes:
Im from Holland, over here we grow up with Debussy and shit,and get to jazz later on in life




sorry. didn't detect joke. People say things like that ,for real, all the time.

So you go to the bathroom while listening to Debussy? Fascinating...
biggrinangel.gif

[martino]

Originally posted by socratez:
DId anyone had any eartrainig/solfege???

Im looking for some software, maybe it will help me training to recognise chords and progression,,, would be good for you to olaf You can order eartraing tapes and CD's in the back of keyboard magazine! you said youre from holland, but i see a link to york university radio...if youre in toronto, go to the royal conservatory of ontario. there's a store in the building with those kinds of things. Actually, there are probably books for that right on the campus of york.

[jerry santiago]

WELL FIRST OFF IF YOUR PRODUCING HOUSE.THERE IS NO SET WAY OF PLAYING KEYS YOU JUST HAVE TO PLAY WHAT SOUNDS GOOD TO YOU,IF YOU LOOK AT ALL THE PRODUCERS OUT THERE MOST OF THEM DONT KNOW WHAT A B FLAT NOTE IS.I DONT WANT TO START NAMING NAMES BUT YOU KNOW WHO YOU ARE.NOW ANY BODY WHO IS GOING TO LEARN ABOUT PLAYING KEYS SHOULD STUDY CLASSICAL MUSIC,IT WILL HELP ANYBODY UNDER STAND CHORDS.NOT EVERY HOUSE RECORD SOUNDS LIKE JAZZ.

[eric justin]

This is a total cheaters method, but I use the Chord Memory function on my Poly 800 alot. If you use the 800 as a midi controler, you can send midi chords to your other gear. :D

[socratez]

Originally posted by eric justin:
This is a total cheaters method, but I use the Chord Memory function on my Poly 800 alot. If you use the 800 as a midi controler, you can send midi chords to your other gear. :D Chord memory is different from real chord progressions. WIth the Poly800 you just play a chord and play that same chord in other scales. But with chord progressions you play different chords in a scale

[So easy a protic can do it (QUAD)]

Originally posted by O'love:
jeez jamie! i can't do anything in 5 seconds!
of course i want to thank you for your response.....but instant gratification never is good ;)

your response is really appreciated, truely!

Olaf HEY O, I DON'T KNOW IF THIS HELPS, BUT PART OF UNDERSTANDING CHORDS COULD POSSIBLY BE WHAT YOU HEAR IN YOUR "MINDS EYE". SOME PEOPLE HEAR SINGLE NOTES, SOME HEAR "CHORDS". I HEAR AND PLAY BOTH. (ONLY BECAUSE MY COUSIN'S FATHER DISCOVERED THAT I KNEW HOW TO SING BACKGROUND VOCALS WHEN I WAS YOUND AND HE DRILLED ME WITH BACKGROUND PARTS OF SONGS LIKE THE "OJAYS, HAROLD MELVIN AND THE BLUE NOTES,ETC) ANYWAY, THAT'S HOW I CAME TO UNDERSTAND WHAT I WAS HEARING. HEAR'S SOME FOOD FOR THOUGHT; IF YOU PLAY NOTES GOING TO YOUR RIGHT AND YOU HIT ONE OF THE BLACK KEYS ON THE PIANO IN THE SAME DIRECTION, IT IS CONSIDERED A "SHARP". WHEN PLAYIN NOTES IN THE OPPOSITE DIRECTION OR TO THE LEFT, THE BLACK KEY BECOMES A "FLAT". ALOT OF JAZZ MUSIC USES "FLATS" AND "SHARPS" FOR THEIR MUSIC WHICH INTURN, WAS A GREAT INFLUENCE FOR HOUSE MUSIC PRODUCERS. TRY THIS FOR EXPERIMENT;

HUM A NOTE OUT LOUD AND MATCH THE KEY ON THE PIANO WITH THE NOTE THAT YOU ARE HUMMING UNTIL THE NOTE "RESONATES" OR SOUDS LIKE IT'S "FLANGING" WITH THE NOTE THAT YOU ARE HUMMING. THAT'S ONE OF THE WAYS OF GETTING TO RECOGNIZE THE NOTES ON PIANO, AND EVENTUALLY YOU WILL BEGIN TO HEAR "IN KEY", BUT STILL TAKE WHATEVER CLASSES YOU CAN AND AS ALWAYS, PRACTICE-PRACTICE-PRACTICE. :D :D

[martino]

Originally posted by jerry santiago:
WELL FIRST OFF IF YOUR PRODUCING HOUSE.THERE IS NO SET WAY OF PLAYING KEYS YOU JUST HAVE TO PLAY WHAT SOUNDS GOOD TO YOU,IF YOU LOOK AT ALL THE PRODUCERS OUT THERE MOST OF THEM DONT KNOW WHAT A B FLAT NOTE IS.I DONT WANT TO START NAMING NAMES BUT YOU KNOW WHO YOU ARE.NOW ANY BODY WHO IS GOING TO LEARN ABOUT PLAYING KEYS SHOULD STUDY CLASSICAL MUSIC,IT WILL HELP ANYBODY UNDER STAND CHORDS.NOT EVERY HOUSE RECORD SOUNDS LIKE JAZZ. I Agree with everything you said, except the classical part. Classical is good if you want to become a better keyboard player. But there are no suspended 4th chords in classical nor are there any minor7 chords (99.9% of the time). Which both play a huge part in house (unless you look to the modern ppl like Debussy & Scriabin). But yes, knowing your scales and keysignatures etc, will not automatically make you a better composer for any style of music, as you say: there is no set way of playing keys.

[Bande-A-Part_NYC]

chill with the CAPS people

[So easy a protic can do it (QUAD)]

Originally posted by Bande-A-Part_ NYC:
chill with the CAPS people SORRY DUDE, THAT'S THE FASTEST WAY FOR A SLOW TYPIST LIKE ME TO TALK TO Y'ALL :D

[Brian]

just turn caps lock off and type the same way you do now

it's much easier to read all lowercase than it is to read all caps

[jerry santiago]

WELL YOU DONT LIKE CAPS,ILL JUST KEEP IT ON,FOR ALL MY REPLIESSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS :D

[O'love]

do some people over here have an attitude-problem or what???????????
;)
Olaf

[So easy a protic can do it (QUAD)]

Originally posted by Brian:
just turn caps lock off and type the same way you do now

it's much easier to read all lowercase than it is to read all caps NO BRIAN, IM NOT TURNING MY CAPS OFF! IT'S ALWAYS ABOUT MARCIA ISN'T IT?!?! MARCIA-MARCIA-MARCIA!!! graemlins/lol.gif graemlins/lol.gif graemlins/rofl5.gif

NO, SERIOUSLY, O'LOVE HOPEFULLY WE'VE BEEN HELPFUL TO YOUR SIT WITH THE "CHORDS" THEORY, FOR THEY CAN BE DIFFICULT TO LEARN AT TIMES. smile.gif

[ December 26, 2003, 11:20 AM: Message edited by: DJ QUAD ]

[larry rauson]

Originally posted by martino:
</font><blockquote>quote:</font><hr />Originally posted by jerry santiago:
WELL FIRST OFF IF YOUR PRODUCING HOUSE.THERE IS NO SET WAY OF PLAYING KEYS YOU JUST HAVE TO PLAY WHAT SOUNDS GOOD TO YOU,IF YOU LOOK AT ALL THE PRODUCERS OUT THERE MOST OF THEM DONT KNOW WHAT A B FLAT NOTE IS.I DONT WANT TO START NAMING NAMES BUT YOU KNOW WHO YOU ARE.NOW ANY BODY WHO IS GOING TO LEARN ABOUT PLAYING KEYS SHOULD STUDY CLASSICAL MUSIC,IT WILL HELP ANYBODY UNDER STAND CHORDS.NOT EVERY HOUSE RECORD SOUNDS LIKE JAZZ. I Agree with everything you said, except the classical part. Classical is good if you want to become a better keyboard player. But there are no suspended 4th chords in classical nor are there any minor7 chords (99.9% of the time). Which both play a huge part in house (unless you look to the modern ppl like Debussy & Scriabin). But yes, knowing your scales and keysignatures etc, will not automatically make you a better composer for any style of music, as you say: there is no set way of playing keys. </font>[/QUOTE]Music as an art form is in serious trouble just based on these two incredibly misguided statements.

Larry Rauson

[lesysteme]

larry..


there are valid points raised there and as a classically trained musician, i feel martino has said things that make alot sense when taken in the right context.


the course of modern music will do just fine, no need to get your panites in a bunch

[ December 26, 2003, 07:01 PM: Message edited by: lesysteme ]

[socratez]

Martino was right about the part in wich he said that a big part of classical music isnt suitable for housemusic. Some chords used in classical music doesnt have the right kind of mood. And in the 1800s poeple didnt develop enough dissonance tollerance to
appreciate those kind of chords used in most black music.

WHen youre at the beginning of learning chords, its most helpfull to learn the cliche's firdt, and break m when youve mastered them.

[martino]

Originally posted by larry rauson:
</font><blockquote>quote:</font><hr />Originally posted by martino:
</font><blockquote>quote:</font><hr />Originally posted by jerry santiago:
WELL FIRST OFF IF YOUR PRODUCING HOUSE.THERE IS NO SET WAY OF PLAYING KEYS YOU JUST HAVE TO PLAY WHAT SOUNDS GOOD TO YOU,IF YOU LOOK AT ALL THE PRODUCERS OUT THERE MOST OF THEM DONT KNOW WHAT A B FLAT NOTE IS.I DONT WANT TO START NAMING NAMES BUT YOU KNOW WHO YOU ARE.NOW ANY BODY WHO IS GOING TO LEARN ABOUT PLAYING KEYS SHOULD STUDY CLASSICAL MUSIC,IT WILL HELP ANYBODY UNDER STAND CHORDS.NOT EVERY HOUSE RECORD SOUNDS LIKE JAZZ. I Agree with everything you said, except the classical part. Classical is good if you want to become a better keyboard player. But there are no suspended 4th chords in classical nor are there any minor7 chords (99.9% of the time). Which both play a huge part in house (unless you look to the modern ppl like Debussy & Scriabin). But yes, knowing your scales and keysignatures etc, will not automatically make you a better composer for any style of music, as you say: there is no set way of playing keys. </font>[/QUOTE]Music as an art form is in serious trouble just based on these two incredibly misguided statements.

Larry Rauson </font>[/QUOTE]re: incredibly misguided - how so? you've never met a musician that didn't know any theory, but that could still play the crap out of his instrument? (ala hendrix).

[jerry santiago]

Just got to love this site.Well i gave you an answer and quickly somebody has to shut it down.Well here's a questions for all you great producers out there,how many of you have a recorded/smash hit on the wall.

[lesysteme]

......

[ December 29, 2003, 05:12 PM: Message edited by: lesysteme ]

[Bill Blake]

Originally posted by C hristian:
if there was one thing that was banged into my head (listen up! we are talking the product of big money and time, here!) in music theory at 8am every weekday morning, it's this...


"Circle of Fifths"


that's your key to the answer to every harmonic problem you are facing right now, provided you are following common practice or Jazz harmonies. I'm not talking modal music or Japanese Gagaku, or anything like that! I think Charlie Parker said he liked Stravinsky or something to that effect.

Parkers innovations where primarily 'rhythmic', not 'harmonic'.

And Jazz 'harmonics' are not based on the circle of fifths. They are based on the blues. Even though there is that relationship between the 1st the 4th and the 5th, to think in that way 'circle of fifths' would be misleading.

And Jazz in its modern developement (From Miles on..) was and is very Modal.

[lesysteme]

so free jazz is modal eh?

nice one moron-ski

oh yeah nice BS there too on CP..go back to swamp-buggy racing

[jerry santiago]

so i guess nobody has a record on the shelf.yeaaaaaa


FTL2004 FTL2004 FTL2004 FTL2004 FTL2004
graemlins/respekt.gif FTL

[C hristian]

why would you, could you say that the blues/jazz's harmonic progressions (pre-Miles/modal, of course)as being based on ii-V-i, or ii-V-I (or variations thereof : ii7-V-I, ii6-V-i, iv-V-I, iv-V-i, etc) is not the circle of fifths? This is classic Western Classical diatonic harmonic progressions. Yes, there are blues notes leading to flatted 3rds and flatted 5ths and the chords you get from that, but come on....to not see the circle of fifths?

I know you are just looking for a fight, but really, you wanna talk music thoery/harmony, let's do it.

[C hristian]

oh, and respond to my thread about modal house music/ disco, too!

[C hristian]

Parker had more than a passing interest in Stravinski. I can play you some solos I have, where there are straight out of rites of spring with some phythmic changes, of course.

Parker's innovations were just as much about harmony as they were about rhythm. this is Charlie Parker 101, now. Come on.

[lesysteme]

Originally posted by jerry santiago:
so i guess nobody has a record on the shelf.yeaaaaaa


FTL2004 FTL2004 FTL2004 FTL2004 FTL2004
graemlins/respekt.gif FTL the drama section of the board is called general discussion..feel free to post over there.

[socratez]

I got another question:

I know a lot of housetracks are in aeolian minor, but is harmonic en melodic minor used to???

Im doing some eartraining now, and it helps smile.gif

[C hristian]

now that's what I'm talking about!

I haven't heard natural or harmonic minors used, myself....anyone?

Maybe in some exotic sounding, Richie Rich track or something...love to know if anyone has an example of it.

[socratez]

Maybe Escravos de Jos, the mix by Kerry Chandler,, but im not sure

I dont know exectaly where to listen to,,

[jerry santiago]

no thats ok,im comfortable here.thank you for your advise graemlins/cussing.gif

[lesysteme]

and you prolly put out records on some horse and pony show label like Waako too..

jeez thats says it all.

[jerry santiago]

WELL SINCE YOU KNOW THAT THERE ON WAAKO YOU MUST HAVE SOME OF THEM IN YOUR CRATE,HOOPUL.SO SINCE YOU CAN TALK SH*T,WHAT HAVE YOU DONE SUPER STAR,OR ARE YOU JUST ONE OF THE CREDITS ON THE BOTTOM OF A JASON NEVINS RECORDS. graemlins/slap.gif

[lesysteme]

i carry timmy regisfords effects box and clean his dreadlocks.

step off kid

[O'love]

here we go again! please, a very happy and peacefull 2004 and lots of thanx for the answers! smile.gif

Olaf

[socratez]

Originally posted by lesysteme:
and you prolly put out records on some horse and pony show label like Waako too..

jeez thats says it all. You guys got to be kidding right???
graemlins/nono.gif

[lesysteme]

haha just having some fun.

but seriously jerry, everyone here has great advice, it really doesnt matter how many records youve made or whatever i feel, good advice is good advice.

i have musican credits on some very big recent records and CDs and Im a producer aswell. My latest joint is being played by alot of great DJs in the UK. best of luck to you aswell.

[TAD]

Originally posted by martino:
</font><blockquote>quote:</font><hr />Originally posted by larry rauson:
</font><blockquote>quote:</font><hr />Originally posted by martino:
</font><blockquote>quote:</font><hr />Originally posted by jerry santiago:
WELL FIRST OFF IF YOUR PRODUCING HOUSE.THERE IS NO SET WAY OF PLAYING KEYS YOU JUST HAVE TO PLAY WHAT SOUNDS GOOD TO YOU,IF YOU LOOK AT ALL THE PRODUCERS OUT THERE MOST OF THEM DONT KNOW WHAT A B FLAT NOTE IS.I DONT WANT TO START NAMING NAMES BUT YOU KNOW WHO YOU ARE.NOW ANY BODY WHO IS GOING TO LEARN ABOUT PLAYING KEYS SHOULD STUDY CLASSICAL MUSIC,IT WILL HELP ANYBODY UNDER STAND CHORDS.NOT EVERY HOUSE RECORD SOUNDS LIKE JAZZ. I Agree with everything you said, except the classical part. Classical is good if you want to become a better keyboard player. But there are no suspended 4th chords in classical nor are there any minor7 chords (99.9% of the time). Which both play a huge part in house (unless you look to the modern ppl like Debussy & Scriabin). But yes, knowing your scales and keysignatures etc, will not automatically make you a better composer for any style of music, as you say: there is no set way of playing keys. </font>[/QUOTE]Music as an art form is in serious trouble just based on these two incredibly misguided statements.

Larry Rauson </font>[/QUOTE]re: incredibly misguided - how so? you've never met a musician that didn't know any theory, but that could still play the crap out of his instrument? (ala hendrix). </font>[/QUOTE]ala jimmy jam & terry lewis who don't know a lick about theory & reading music.

[<jeremias santiago>]

me to dogz,to many people let this site get to there head,so that record your talking about,whats the name of it,so i can check it out,got to show some support.i also got some joints coming out this year on different labels,other than waako and ftl.so keep a look out. graemlins/all_coholic.gif

[martino]

graemlins/thumbsup.gif

[Hippie]

If you want to cheat and get some instant lessons download some midi files from the songs you like. They usually have the chord progression already and since you already know a little chord progression you can see how they worked there magic and see how they work against there melodies ( the other half that's important ). And something alot of people forget is try to get the prosody right. What's that you say, well that's when the chord progression matches the mood of the lyrics. Ex: Major chords for a positive message, minor chords for sad, reflective or anything else. And also don't take that as a rule there are plenty of songs with positive messages and minor chords it's just an extra feature for your song writing.