Great technique. Thank you very much for the explanations and examples! I've heard something about 1-3-5 somewhere, but rarely used it. But your tips about switching between stable and unstable notes immediately added a lot of variety to my musical sketches ;)
Thank you Vadim :)! Same here: I also knew about 1-3-5 for years. But only when I read about the connection to the overtone series, I was able to "accept" it :D.
@@feelyoursoundHQ , looking forward to your book with interest :) Is there anywhere else (besides Instagram) to see the few tips you've already posted?
Black Friday wird es rund um Black Friday geben ;). Du kannst meinen Newsletter abonnieren, dann schicke ich dir eine Info sobald die Sales starten: feelyoursound.com/news
The "1 - 3 - 5 method" is quite solid for most situations and chords progressions. However, when you are playing live and you feel that the 3 (or 5) sounds off, it's most likely because it is too close to one of the chord notes. For example, when you play a 3 (= E) over Dm (which consists of D - F - A), then the E is only one semitone apart from the F. This clashes. In this situation, trust your ear and quickly move over to the 5 (= G). The G is two semitones apart from the F, and two semitones apart from the A. And this is fine. Generally speaking, the 5 is statistically the safer choice on a Major scale, but of course you don't want to just play on the 1 and the 5 all the time ;).
Very interesting ! Thank you
Great technique. Thank you very much for the explanations and examples!
I've heard something about 1-3-5 somewhere, but rarely used it. But your tips about switching between stable and unstable notes immediately added a lot of variety to my musical sketches ;)
Thank you Vadim :)! Same here: I also knew about 1-3-5 for years. But only when I read about the connection to the overtone series, I was able to "accept" it :D.
@@feelyoursoundHQ , looking forward to your book with interest :) Is there anywhere else (besides Instagram) to see the few tips you've already posted?
@@vbugaev No, it's just on Instagram at the moment!
@@feelyoursoundHQ, roger that! Well, then I'm looking forward to your book with even more interest ;)
Schön erklärt!
Wann kommt der Black Friday Sale für Trance Engine?, will das Teil endlich haben. :D
Black Friday wird es rund um Black Friday geben ;). Du kannst meinen Newsletter abonnieren, dann schicke ich dir eine Info sobald die Sales starten: feelyoursound.com/news
Very nice! I would love a similar vid for chords!
Will see what I can do :). I am currently working on the melody aspects, but I wrote a guide about chords in the past: feelyoursound.com/chordsguide/
But what if a chord change happens? example from C to Dm
The "1 - 3 - 5 method" is quite solid for most situations and chords progressions. However, when you are playing live and you feel that the 3 (or 5) sounds off, it's most likely because it is too close to one of the chord notes. For example, when you play a 3 (= E) over Dm (which consists of D - F - A), then the E is only one semitone apart from the F. This clashes. In this situation, trust your ear and quickly move over to the 5 (= G). The G is two semitones apart from the F, and two semitones apart from the A. And this is fine. Generally speaking, the 5 is statistically the safer choice on a Major scale, but of course you don't want to just play on the 1 and the 5 all the time ;).
Danke 🙂👍
Gerne :)
Cool
Thanks :)
BASICALLY THE NOTES IN THE ROOT TRIAD...
Yes, these are the notes of the first chord of the scale in root position.