Dubstepforum.com

hey, i've just read this: http://dubstepforum.wetpaint.com/page/M ... ubsteppers

and it says about bengas tune crunked up - "A great example of an arpeggio is the bassline in Benga’s “Crunked Up”. He goes from playing the F# minor arpeggio backwards to playing the F minor arpeggio backwards. In other words, he is playing:

C# A F#, and then C Ab F"

My question is, how can benga change scale that he is using, and the track still sounds good? I thought we were supposed to make a tune in one scale? Just trying to get my head around music theory.

VirtualMark wrote: I thought we were supposed to make a tune in one scale?

no fucking way you're serious. You must be trolling.


Who the FUCK told you that??!!

VirtualMark wrote:hey, i've just read this: http://dubstepforum.wetpaint.com/page/M ... ubsteppers

and it says about bengas tune crunked up - "A great example of an arpeggio is the bassline in Benga’s “Crunked Up”. He goes from playing the F# minor arpeggio backwards to playing the F minor arpeggio backwards. In other words, he is playing:

C# A F#, and then C Ab F"

My question is, how can benga change scale that he is using, and the track still sounds good? I thought we were supposed to make a tune in one scale? Just trying to get my head around music theory.

I know where your coming from, it seems odd at first but...

Staying in scale is the safe way to sounding "good" but accidentals and key changes are key to tapping into stronger emotions, IMHO. Obviously music can't be simplified into that simple statement but I'm just trying to say no, you don't have to stay in key. Broadway musicals change key ever 8 measures I swear dude, and the blues don't give a FUCK about no conventional scale use (well, there's been theory made to adhere to the blues but you get my meaning).

-[2]DAY_- wrote:

VirtualMark wrote: I thought we were supposed to make a tune in one scale?

no fucking way you're serious. You must be trolling.


Who the FUCK told you that??!!

ahahahaha

what is a scale


i just hit random keys that sound good to me ears.


jokes aside, if it sounds good it probably is.

i see. i really don't understand the point in music theory. its like if i want to paint a picture i'd just use the colours i like. whats so different about music. i've seen people say they write a track in a certain key, yet theres tons of songs that change key. it seems like these rules are just there to be broken, so whats the point in studying theory?

it really does make life easier. before i understood much theory, it was difficult trying to get my ideas into the sequencer, and in the process i could well lose it whilst sodding about trying to find the right notes. a knowledge of scales, chords, etc. means you can get your ideas out much quicker.

and ive found that the more theory i understand, the more there is to explore, where beforehand i would stick to 'safe' combinations of stuff that i had worked out. now i can quite easily change keys or scales or invert chords or whatever without even really thinking, and it gives you a larger palette to work with. plus i can have reasonably meaningful conversations with musicians and actually understand what they are on about.

VirtualMark wrote:whats the point in studying theory?

This is just as ridiculous as the OP.

I think it should be clear that

1. Theory is not binding. Knowledge of it is not absolutely necessary to all musicians/producers/engineers
2. Theory is a liberating, beautiful science which aides in the creation of wonderful art. Any extension of knowledge therein is absolutely and without a doubt beneficial to any and all musicians, producers, engineers, listeners, etc. Period.

Theory is there to be pushed around and told what to do. The minute theory starts telling YOU what to do you've made a mistake somewhere.

VirtualMark wrote:hey, i've just read this: http://dubstepforum.wetpaint.com/page/M ... ubsteppers

and it says about bengas tune crunked up - "A great example of an arpeggio is the bassline in Benga’s “Crunked Up”. He goes from playing the F# minor arpeggio backwards to playing the F minor arpeggio backwards. In other words, he is playing:

C# A F#, and then C Ab F"

My question is, how can benga change scale that he is using, and the track still sounds good? I thought we were supposed to make a tune in one scale? Just trying to get my head around music theory.

Like someone before said, when you tap into changing keys and modes that's when you're getting deep in the theory and essentially using pitch to express yourself in a more complex way (like in the good ol days). But that really isn't what Benga is doing here. The line is just going down the F# minor chord, then just moving it down half a step, and back and forth. The bass is either following the line, or isn't there, so tonally there is nothing to clash with.

@bold, this is the problem with learning theory, is that you do tend to box yourself in using safe ideas like staying within one scale and whatnot. At the same time though, there really isn't anything wrong with that because dubstep isn't really about tones, it's the other elements of the track besides the notes themselves that really make the track come together. It's much more production oriented. In our realm of music, if you're actively learning/using theory, you should note it is essentially an accessory to production. Crunked up doesn't sound sick just because of that line, it's the spookiness of that synth, play with frequency, pan, groovy percussion, etc.

But it is what you make it. You can make theory a very essential part of your production. Nu classical, anyone?

there is *nothing* in any kind of musical theory practice (even strict western classical theory) that would advise against chromatic shifts such as f# minor to f minor...

it has been done for ages, hundreds and hundreds of years. in fact, if you really want to hear it done masterfully, put yourself on a strict diet of Bach - he was a genius at it. he constantly did step sequences that were offset by a semi-tone or a tone... sometimes he did it obviously, other times he obscured the motion by adding in extra notes in between.

bach broke all the rules but definitely understood how and why he did so.

Parallel motion was considered wrong. Benga proves otherwise, likely without knowing it... it takes all kinds in this world.

+1 for Bach.

Dude was the fucking master.

another +1 for bach and his invention, fugue. Completely fucked shit up.