psychedelic key signatures (musicians)

so, most key signatures can be used with psychedelic music. But I've found that A minor, D major, and E major are really good psychedelic key signatures. I found a lot of creative insperation with these key signatures and writing music. what do you guys think?

 

ah man, I just thought about it. not everyone knows music theory. sorry if you don't. but all input is appreciated.

 

i have no theory of music knowledge, but if you want some very psychedelic sounds/music, floyd has it.

good trippy songs:

1) entire darkside album (its really one straight track almost)
2) High hopes and keep talking from the division bell album
3) welcome to the machine

 

well I'm not looking for psychedelic sounds (plus I own all of those, lol). its just discussing different key signatures or notes that really lock in with the psychedelic state.

 

i know plenty about theory but i dont see how those keys are any more phycadelic than any others. there very well could be alot more personal inspiration in them for you but overall they are still the same patterns of half steps and whole steps. i would be interested in knowing what you consider to be some more phycadelic scales though. peronally phrygian is my favorite. is has that dark spanish sound that i think can be really cool, but now im just rambling.

 

well, its not that its more psychedelic, but I've gotten a lot of good psychedelic sounds out of those key signature. and the notes just seem to key in with the psychedelic mood.

my favorite with psychedelic scales would be the lydian scale. It has a sense of mystery and darkness about it, yet it can sound so beautiful. and the B Phrygain scale has that kind of middle easter tone to it.

 

E is good for guitar because you can use the open strings as drones, and play raga-runs like a sitar and have the low E string droning. In case ya'll haven't found out yet, if you raise the third of Phrygian (to major third) you can speak with god.

 

^^

I'll have to try that out.

 

thats good to know man

 

A lot of phish jams are in C and A

 

Well I know quite a bit about music theory but what you said in your first post doesnt make much sense to me

Unless you have perfect pitch, most key signatures don't make a difference

What I really love high or sober are these chords, played between eachother

Emajor7
Asus2 --epic
A6
Cmajor7 --HEAVENLY
Fmajor11



Also I love different scales and odd things

Phygrian scale - evil, epic, mystical based on time signature (6/8? 4/4? odd?) ascending descending overall rythm

A harmonic minor scale played in triplets in 6/8 timing can induce a PIRATE feeling

Chromatic can either be clownish and giddy like mario theme song or ice cream man song OR evil again based on use of stacked minor thirds, ascending/descending tempo and others

Its not about the key signature IMO
Its about the chords and transitions as well as accidentals and scales

Eminor vs Bb minor doesn't matter
F# major vs Ab major doesn't matter
Thats the same thing as using a sound editing program like audacity and bringing up the pitch of a whole song by 500Hz... no change




a transition from A minor to F# minor IS AMAZING
('Californication' 2nd chorus transition to solo by Red Hot Chili Peppers)

B Minor to A minor transition is BEAUTIFUL
('fade to black' intro solo to verse by Metallica)

C# MINOR to its parallel MAJOR IS FUCKING HEAVEN
('echoes' by pink floyd)

 

Chugtonio do u know what kind of scales trey uses? Whenever I jam to phish it seems like a lot of the songs use the same scale just different keys

 

key signatures do make a difference. it adds a different tone and sound to what ever your playing. cause C major and E flat major sound different, tone wise.

like A minor has a deeper more serious dark tone to it. while C major sounds very playful and happy.

 

The psychological effects of the major and minor triads, and their respective tonalities, can be understood as the emotional corollaries of these underlying ideas.

The major triad revolves around the ideas and the concomitant emotions of order, purity, devotion, submission and worship.

The minor triad revolves around the ideas and the concomitant emotions of sacrifice, altruism, complexity and partnership.

http://www.tonalcentre.org/

 

.. No they don't
no it doesn't

Whats trey?...EDIT NVM

Most all music is in either Major or Minor
A minor or B or C# or Db or WHATEVER does not matter, just major vs minor

The note of the major or minor only matters when you change key signatures in a song
A minor is no different then G# minor, its just every note shifted up the same amount

Lydian mixolydian dorian all that shit are modes
a Mode is the sequence of notes in a scale starting from a different note in the scale

C major is a-b-c-d-e-f-g-a
in semitones it is 2-2-1-2-2-2-1
from a to b is 2 semitones (A#, B)
From e to f is 1 semitone (e has no sharp or flat

Thats why on a piano you have 5 black keys (sharps) for every 7 natural notes
a a# b c c# d d# e f f# g g# REPEATS
1 2 3 4 5 6 7 8 9 10 11 12
7 notes plus 5 sharps =12
2+2+1+2+2+2+1 = 12

wtf are you talking about?

 

that song Acid Enlightenment. whatever that's written in has blown my mind. I think that once a music makes it past a certain pitch everything is blown out of the water

 

wtf, Christ I left a website to look into. Fuck!, This Is why I dont leave informatiion to stoner kids in chatrooms cause they never know what the fuck your talking about.

I left a source. Didnt you see it.


Im wondering what planet your on with all this home made theory, tabliture your typing for no reason. What are you teaching there,

The mind perceives pitch to be continuously variable - there are no "quanta" of pitch - but in music, out of the infinite possible pitches that could be chosen from the pitch continuum, only a limited number are used.

Usually each octave is subdivided into a small number of steps and each of these is repeated in every octave. In almost all musical cultures notes separated by an octave are regarded as somehow equivalent, so that, for the sake of consistency and simplicity, divisions in any one octave are repeated in all others. Scales in which different notes are used in different octaves, or where octaves are not found at all, are rare.

By choosing a limited number of notes the ear is given a structure that is simple enough to be understandable and whose notes are spaced apart enough to be easily heard as different. Ideally within any octave, each note is perceived to be fundamentally different from every other note - each note has a unique identity. When that identity is unique enough it allows for each note's pitch to be varied with vibrato and other decorative techniques without losing its identity and becoming confused with other notes.

The pitches used in purely melodic musics - such as classical Arabic and Indian are generally more flexible and complex than those used in the tonal harmonic music of common practice classical and popular music. Within any one scale we will often find more than seven notes and the distance between consecutive steps can be very small.

But we also find in melodic music the frequent use of both the pentatonic scale - Celtic and Asian songs, and the seven note diatonic scale - Native American and African songs. These scales often sound very different to how they do in tonal harmonic music, through generic forms of decoration and pitch variation.

On this site I will be examining in detail only those scales which are suitable for use in tonal harmonic music.

What is a scale ?
What is it that differentiates a "scale" from simply just a "collection of notes" ?

A scale should constitute a unified collection of notes - a selection which is in some sense complete and to which any addition is heard to be extraneous.

The scale must also fulfil the functions demanded of it. There are three principle functions that a a scale may be asked to fulfil:

to serve as a melodic resource
to serve as a harmonic resource
to be tonally effective
It may fulfil any or all of these three functions - depending on its intended use.
The scale as a melodic resource
For a scale to be heard to be successful as a melodic resource it should be reasonably smooth and even, without sudden gaps which sound as if a note has been omitted, or sudden concentrations of notes which sound as if an extraneous note has been added.

One of the most important measures of the completeness of a scale is whether or not it can be classed as as a proper mode or not.

A mode (scale) is considered to be proper when all intervals of an interval class are not smaller than those of lower interval classes. This means that if we start on any note in the scale and move up four notes the interval traversed should be larger (or the same size as) any other interval made up from traversing three notes.

The propriety of a scale is a significant factor of scales which are recognised to be melodically smooth.

Another important measure is consistency of the size of intervals for each pitch class in the scale. The diatonic scale, for instance, has just two types of second - a major and a minor second, while the harmonic minor scale has three types of second - major, minor and augmented. This makes the diatonic scale melodically smoother than the harmonic minor.

The scale as a harmonic resource
In any harmonic music which uses major and minor triads, a suitable scale must be a resource not just for melody (notes in isolation) but for major and minor triads.

If we take major and minor triads to be the fundamental building blocks of our harmonic system then this means that if any note is not part of any major or minor triad then it is serving no harmonic purpose. It is therefore extraneous to the harmonic function of the scale, and so cannot be considered to be a unified member of that scale.

An example of such a "scale" is: c, d, e, f, g, g, a. Here the g is part of no triad, and so cannot be considered be a unified member of the scale.

The other requirement for a harmonic scale is that it should not contain any notes that allow for both a major and a minor triad to be built on the same root. This is because in any such scale one of these two possible thirds will always be heard as superfluous addition.

For example, in the "scale" c, d, e, f, g, a, a, b either the a or the a is entirely superfluous to the harmonic requirements of the scale.

This requirement forbids the use of any chromatic semitones in a fully unified scale.

Remarkably enough, out of all possible scales there are only five prime scales, in which every single note is a member of at least one major or minor triad and which contain no chromatic semitones. All of these scales contain seven notes.

The five prime scales
The prime scales are those scales in which every note is a member of at least one major or minor triad, but which contain no chromatic semitones.

Each of the prime scales is best considered as a set of seven different scales or modes. Each mode of the prime scales contains the same notes but has a different "home" note or tonic.

Both the major scale and the natural minor scale are drawn from the same prime scale, and that prime scale is the diatonic scale. The difference between the major scale and the natural minor is their "home" or tonic note. If we take the notes c, d, e, f, g, a, b and treat c as the home note then we are using the scale of c major. If, however we take a as our home note then we are using the scale of a natural minor.

Indeed we can construct seven different scales from the diatonic scale by choosing each note as the home note. These seven scales are known as the seven diatonic modes. If we use the c major scale above, then the modes of it are as follows:

Tonic note Name of mode
f f Lydian
c c Ionian (or major)
g g Mixolydian
d d Dorian
a a Aeolian (or natural minor)
e e Phrygian
b b Locrian

As stated above there are five prime scales. Many of them do not have conventional names, so I have had to use the following descriptive terms.

The five prime scales are:

the diatonic
the harmonic minor
the harmonic major
the melodic
the double harmonic

Tonal harmonic scales
There is one final requirement for a scale that is to be used as a resource for tonal harmonic music. Not only must it be a suitable resource for melody and triads but it must also be able to support a tonic triad. That is, it must have a chord which serves as a chord of rest and completion, as the tonal centre against which all the other triads are measured and towards which all gravitate.

Within each of the prime scales only one or, at most, two triads are actually capable of functioning as tonics.

So although any of the modes of the prime scales are suitable in a melodic music, in a tonal-harmonic music only one or, at most, two modes of each of the prime scales are suitable.

The diatonic scale, for instance, has only two triads which are perceived to be totally at rest, resolved and final. In the scale c, d, e, f, g, a, b these triads are C major and a minor.

This means that there are only two tonally effective scales to be taken from the diatonic prime - the major scale and the natural minor (or aeolian) scale.

In total there are eight tonal harmonic scales. The diatonic scales
The major scale
The aeolian mode
The harmonic minor scale
The harmonic major scale
The melodic scales
The (ascending) melodic minor scale
The (descending) melodic major scale
The double harmonic scales
The double harmonic major scale
The double harmonic minor scale

Do you know what im talking about now?

 

This shit is amazing

You can sequence notes together to create virtually any mood you want
It all relates back to evolution but I'll get to that in a second

How do you distinguish a sad or eerie song from a happy one?
Most people will say a sad song is on a piano or violin while happy is upbeat and on other instruments but its a mixture of rhythm, tone, notes and others, the music itself being a huge part of it

Harmonic Minor means a minor scale, with the 7th not of the scale raised one semitone
This can create an epic, evil, mystical, spooky etc sound
https://www.youtube.com/watch?v=OhhxmcJ9DfQ first 20 seconds evil

Augmented 4th/dimished fifth = BRUTALITY
https://www.youtube.com/watch?v=ov9bMJETZTo ...brutal

etc


Ever wondered why us as humans could interpret a sequence of pitches of sound as different emotions?
why a few notes together sound sad while changing one note can make it happy?

Harmonics.
https://www.youtube.com/watch?v=5j2AxGGmT-g


On a guitar string, based on the tautness of the string, the length and the thickness, it produces a pitch when plucked

When a guitar string is plucked, the string vibrates at several frequencies. The vibration along the entire length of the string is known as the fundamental, while vibrations occurring between points along the string (known as nodes) are referred to as overtones. The fundamental and overtones, when sounded together, are perceived by the listener as a single tone, though the relative prominence of the frequencies varies among instruments, and contribute to its timbre. (copied from wikipedia lol)

if you place your finger over the 12th fret lightly
you can cancel out the fundamental node and basically cut the string in half, doubling the pitch

You can do this at any fraction of the string to create different pitches
if you do it on fret 7, that is 1/3 the length of the string, therefore 3x the pitch, 1/3 the volume making it an octave and a perfect fifth higher

http://en.wikipedia.org/wiki/Guitar_harmonics
Scroll down on this page to find a chart with different fractions of the string and the note produced
Major third octave and perfect fifths occur as overtones

This means that in nature we hear overtones of what we call a major 3rd
it is natural so humans are attracted to it, while the more dissonant, the more evil or ugly etc.

 

There you go now your helping..

 

just play whatever feels good


who cares what key its in