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Jake Lizzio
Jake Lizzio

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Post your questions here for TOMORROW's Live Q+A Lesson

Tomorrow at 6PM CST I'll be doing a Live Q+A Lesson. If you get your questions in here before the stream starts, I'll be able to answer them live. I think I missed a few last week that got posted right as I started :(

The following morning, Wednesday, I'll be doing another Live Composition stream around 10AM CST. This one will be fun, and I may have to do it again on Thursday or Friday since I have some extra work for the upcoming course that would make for a great stream.

Either way - Ask your questions below, and I'll see you tomorrow night at 6PM CST!


Comments

Mainly because of the note naming convention that every letter is represented once and no repeats. So if we stayed consistent with all sharps or all flats, you could do: C, D, Eb, Gb, G, Ab, B. ...But we'd have G named twice and no F name. C, D, D#, F#, G, G#, B. ...same problems if we go all sharps. We have two D names, two G names, and no A or E name. So, the only way to get all the letters named in C Hungarian Minor is what you wrote. Basically, it's a clash of conventions and the letter name rule trumps the all-sharps-or-flats. This is mostly so you could write your key signature. You can put Eb, F#, and Ab on a key signature because no line or space on the staff is used twice. But how would you notate Gb and G-natural in a key signature? Same for D-natural, D# and G-natural and G#? The only other solution would be no key signature and a bazillion accidentals.

So I know you don't exactly like talking about enharmonics, but this is just something that I have to ask. I'm aware of when to refer to a scale in flats, and when sharps are more appropriate (I'll not repeat the A# Major debacle again). However, I've noticed that this system begins to fall flat on its face when looking at more exotic scales. Take C Hungarian minor, for instance; we've got C, D, Eb -so far so good. But then we get the clusterfuck that is F#-G-Ab-B, and I'm just...how? I'm pretty sure you're not supposed to use both flats and sharps in the same key, so how would I go about naming these notes?

Wolfy

Hi Jake! I've been working on writing a full song for the first time and decided to use a melody from the coldplay song X&Y. So far I have just changed the chords hanging under the melody and wanted to decide a few things upfront about the song before going further. 1. I was wondering whether that is enough of a reharmonization. My chord progression (G Lydian) is DMaj7 | Em7sus2 | Bm7 | A7 F#7 G | Em7sus2 | Bm7 | C#m7b5 G 2. I was struggling with deciding the vibe / groove for the song. Do you have any suggestions on what could be a good genre / tempo for the song? Or can I just pick whatever I feel like and should be able to make it work. In general how do you decide this for your songs? The original song - https://www.youtube.com/watch?v=uIgxY0yWLNY Rough cut version of my loop - https://drive.google.com/file/d/1IOJ0SegVLGV1fhI2CmSzuqmm6cyParlE/view?usp=sharing


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