Nothing will ever beat good old-fashioned, analog listening. Remember, if it sounds good, that’s what really matters. Just like with many rules in music, they can be bent or broken so long as you understand the underlying premise. These scales only share three notes so there is a possibility of harmonic clashing.Īll and all, the best answer is to test your mixes out. This is the equivalent to moving up one semitone, C to C# for example but it is not recommended to try this when both song parts have dense harmonic and melodic content happening during the mix. Moving + or – 3 is probably not often going to work as well.Moving + or – 1 works because each of the scales share six of seven note.Moving from say 3A to 2B or 3B to 4A works as well.This works because these two scales are relative and share all the same notes. We could also stay in the same number position and shift from A to B or B to A (major to minor). The obvious answer is to stay in the same key, 4 A to 4A, for example. Again shifting up from C two positions, we move 14 semitones, or C to D.Ī mix works well between two different keys when the scales of each share many of the same notes. If we start on C, moving up 7 semitones, we arrive at G. Moving left or right one space from any position on the Camelot Wheel, we have a key change of a Perfect Fifth which is 7 semitones away. With a little understanding of music theory, we can explain why, for instance, a mix between 12A and 1A works.Īn octave is made of 12 notes or semitones.
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