synkrotron
A creator of Stuff
Bloomin' scary if you ask me! I mean, four stringed instruments, and possibly one of those (#1 Violin) for the melody line.
Oh, I should explain, I do not have the foggiest what I am doing here.
Anyway, I've got something mapped out, just a simple 32 bar exercise for Cello, Viola and a Violin. These three instruments are going to provide a "bed" over which the lead Violin will play some a melody.
And I'm working in C Major, so all white notes. Very, very simple... Childlike, I would have to admit.
The Cello part has each of its notes spread over two bars for the 32 bars.
Viola part pretty much follows the Cello part, sometimes an octave higher, sometimes an octave plus or minus a step or two and there are a couple of places where there is a quarter note "step" at the start of a couple of bars.
The #2 Violin then follows the Cello and Viola, again, sometimes providing a 3rd of a triad, sometimes a 5th.
Actually, as I am working out what to say I think I might be going into too much detail here, and I should get to the point.
I have an instrument each playing a note of a chord, but a lot of the time there are only two different notes, sometimes the 3rd or the 5th along with the root and therefore the "character" of the triad is essentially lost. What makes it more difficult for me to work out what I have actually played, in terms of a "progression," is that I am possibly playing inversions of a chord.
So, for instance, I thought I was playing a D minor, but with the flatted third missing for 1-3/4 of a bar, that leaves an F and an A, and because the F is being played by the Cello, that is very much saying, "you are really playing an F here" albeit with the fifth missing.
I always thought that the lowest note being played generally set the root of the chord, which is why I am saying F.
Is that the case? Could I use an inversion of a the D minor chord, which would put the 3rd as the lower note, and still call it a D minor?
Apologies if I've put this in the wrong place. I know it is a "noob" question but I felt that it would be better placed here as it is a composing related quandary.
Cheers, and thanks to anyone that got this far
andy
Oh, I should explain, I do not have the foggiest what I am doing here.
Anyway, I've got something mapped out, just a simple 32 bar exercise for Cello, Viola and a Violin. These three instruments are going to provide a "bed" over which the lead Violin will play some a melody.
And I'm working in C Major, so all white notes. Very, very simple... Childlike, I would have to admit.
The Cello part has each of its notes spread over two bars for the 32 bars.
Viola part pretty much follows the Cello part, sometimes an octave higher, sometimes an octave plus or minus a step or two and there are a couple of places where there is a quarter note "step" at the start of a couple of bars.
The #2 Violin then follows the Cello and Viola, again, sometimes providing a 3rd of a triad, sometimes a 5th.
Actually, as I am working out what to say I think I might be going into too much detail here, and I should get to the point.
I have an instrument each playing a note of a chord, but a lot of the time there are only two different notes, sometimes the 3rd or the 5th along with the root and therefore the "character" of the triad is essentially lost. What makes it more difficult for me to work out what I have actually played, in terms of a "progression," is that I am possibly playing inversions of a chord.
So, for instance, I thought I was playing a D minor, but with the flatted third missing for 1-3/4 of a bar, that leaves an F and an A, and because the F is being played by the Cello, that is very much saying, "you are really playing an F here" albeit with the fifth missing.
I always thought that the lowest note being played generally set the root of the chord, which is why I am saying F.
Is that the case? Could I use an inversion of a the D minor chord, which would put the 3rd as the lower note, and still call it a D minor?
Apologies if I've put this in the wrong place. I know it is a "noob" question but I felt that it would be better placed here as it is a composing related quandary.
Cheers, and thanks to anyone that got this far
andy