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Hmm… I apologize for the various issues that have arisen😭
I tried turning off the visual/text switch function and updating the plugins, but it seems that didn’t resolve the tag display problem…As for the profile screen, the errors are occurring due to the various modifications I’ve messed around with. I will continue to investigate solutions for this as well.
It’s strange that my dummy accounts posting sample topics are all general accounts without special permissions, and they are not experiencing any issues. If I could reproduce the problem on my end, it would be easier to solve, but since I haven’t been able to do that yet, it might take a little more time.
In any case, I appreciate your detailed bug report!
Hi, basically, this site deals with the three classic elements of music: melody, harmony, and rhythm. It doesn’t cover sound production for specific genres. While I do have ambitions to systematically introduce knowledge in areas like sound design, arrangement, and mixing, that will be further down the line.
When it comes to EDM sound production, I believe YouTube tutorials are the strongest resource. Many aspects, such as sidechain routing, differ between DAWs, so gaining knowledge by watching videos that show the actual DAW workflow is the most efficient method in my opinion.
Hi, bracketed words like [mib], [lab] and [tib] are raw codes that were shown mistakenly; they should have been converted to CSS-styled do-re-mi syllables (with an italic Serif font). They’re now fixed!
As to tags unintentionally shown, I’m still not sure about it since I cannot reproduce that issue on my side.
I changed some of the settings of the forum regarding allowed HTML tags, so can you please try posting a reply again?And I’d like to know if there are tabs for switching Visual/Text editor, and if changing these tabs makes difference.
I really appreciate your cooperation!🥹
In Pitch Structure in Rap Flow (Part 2) there is no censor on the name of the 3rd song in the table shown, I assume this is unintentional as the song’s name was censored in the before part.
Ah, Thanks!! I fixed that part.
And I’m happy, you’re the first to post a reply on this whole website😄
As you rightly pointed out, there is often a claim that the overtone series provides a basis and the overtone series may serve as a “a piece of the puzzle” of tendency. However, many issues remain unresolved. Chief among them is how to explain the minor scale.
Taking the C minor scale as an example, in this scale, the F note is considered to have less tendency because both neighboring notes are a whole tone away. (This is actually mentioned in “Great Songwriting Techniques” too.)
However, purely in terms of the relationship between F and the tonal center, which is C, this remains consistent with the major scale; F is still distantly related as the 21st overtone.
Thus, we can see that a change in tendency occurs depending on the neighboring tones. Therefore, it becomes evident that the concept of tendency involves the entire structure of the scale and cannot be simply explained by the frequency ratios or the overtone order of just two tones (a tone vs the center).
Similarly, in the C minor scale, A♭ exhibits a strong tendency while F with a medium tendency. But comparing their order in overtone series, A♭ is the 13th (though large errors are acknowledged) and F is the 21st. Here, the pattern is reversed and the law is disrupted.
Another question arises: If the overtone series were the sole determining factor, wouldn’t it be contradictory if the ti♭ (the 7th overtone) or fa♯ (the 11th overtone) were not stable?
Of course, non-diatonic tones should not stabilize within diatonic tonality. However, this implies that the specific “context” of tonality, which is not something that exists as physical sound waves, influences our cognition. Therefore, the conclusion remains that explaining everything solely through the overtone series will not work. Things are not that straightforward.What I believe to be an appropriate understanding at this point is; the tendency theory relies on the highly fundamental “axiom” of chord theory that “tertian chords are stable”.
In chord theory, even though the stability of major chords can be theoretically explained by the overtone series, this does not apply to minor chords. This parallels the discussion of tendencies, where hypotheses that work well in a major scale fail in minor.
Currently, theories regarding stability and harmony are being debated as culturally dependent, so it would be premature to hastily conclude tendencies as purely physical properties.
Wow, thanks!
The same melody is repeated, but the accompaniment is in Cm key. The opposite pattern as yours; the modulation to the dominant key.
As for the chronological order, it certainly involves a modulation to the dominant key. However, in terms of the actual composition process, the process might be the reverse. I speculate that the melody was originally composed in the key of C minor, and then later adapted as the intro, with the F minor key assigned afterward.
The last phrase “F-G-F-E♭-C” alone evoke me the sense of “re-mi-re-do-la” in Cm more strongly than “la-ti-la-so-mi” in Fm, from my experience. especially taking into account that it’s the finishing part of the intro.In both cases, the melody fits more to either of the two keys; and it can be observed roughly by how stable kernels / shells are assigned to the important notes. I think it would be ideal if a melody fits perfectly to both keys, making it indiscernible which key the melody originally aims at.
Pentatonic scales do have the potential to get re-tonalitized.
Now I think it wouldn’t be surprising if composers from the early 20th century like Debussy, Bartok or Ravel already tried this method, for both the pentatonic scales and polytonality are keywords of that era.
