Terrible idea upon my thinking about it: centralized cruise control.

Minding [Original Composition] YouTube video by Azina

New video for people with sad thoughts
youtu.be/PHLCVhdbo1k
#newmusic #Composer #music #orchestral

Daisy Bell - Megurine Luka Vers. YouTube video by Azina

#TheAmazingDigitalCircus is gonna end soon :(
youtu.be/UaRCI5-8zik
Happy #TDOV! I'm here too, being trans and making music.

I’m not healing you or playing you a song, that’s for sure.

Missionary

I put a vibrator on Spotify btw #indiemusic #altrock

open.spotify.com/track/6U54e2...

It’s not a remix, but I’ve got an original “fake-video game” set of music. There’s only one on YouTube right now, if only YouTube would suggest it to anyone, ever.

youtu.be/DlBkfiAlFt8?...

Thanks for reading, feel free to judge my spellings and jazz knowledge. I’m just a composer with a good compositional ear more than anything else.

General assistance
All chords assume they are the key center
Cadd2: C-D-E-G
C9: C-E-G-B-D
Fadd4: F-A-C-Bb
F11: F-A-C-Eb-G-Bb
BbM7: Bb-D-F-A
Ebadd6: Eb-G-Bb-C
Cm7: C-Eb-G-Bb
Eb13: Eb-G-Bb-D-F-C *13 chords do not include the 11th(4th)…or maybe the 9th. Things get weird at this level.

Summary
Thick chords should not be tossed around for nothing. What matters is…
Harmonic Motion
Intention
Not being afraid of tense notes
Comfort in your knowledge
…and a liiiiittle bit of intuition, at first.

The key is the last chord, without exception, for these.
||: Eb-F-Bb :||
||: Ebadd2-F-Gmadd4 :||
||: F-Fm-Bb :||
||: Fadd6-Fm7-Bb :||

Suggested practice progressions
The key is the first chord, without exception, for these.
||: Cm-Fm-Gm :||
||: Cm2-Fm2-G :||
||: Cm7-Fmadd4-Gm :||
||: F-Bb-C :||
||: Fadd4-BbM7-C7 :||
||: C-F-Fm :||
||: Dm7-Gmadd6-A7 :||

It is important to note that added chord tones are based on the chord, not the key. Assume the key of Dm for a sec. Gm6 adds an A, which is a 6th away from G. It does not add Bb, which is the 6th scale degree of D minor. Additional note: Bb is already part of Gm, so it can’t be the 6th tone anyway.

The landing chord of Siren is D9(so DM7add9 for your ease of information), because of the vocals landing on 2(E natural). This would look different had I analyzed it from B minor, but we’re not gonna do that.

Siren, a song in D major, which I use since it was so striking to you(for whatever reason I wouldn’t know), begins with vocals solo…(D major scale)
“It’s not you, it’s me.”
7 1/8 2 5 2
…

Your added chord tones need to have a purpose. Your music, both thematically and musically, needs to have an intention. It is not unlike marketing yourself in the amount the required effort, which is why rich musicians have the business behind them doing that stuff for them.

The bass becomes the only aspect of your music that is moving, and that isn’t enough 60% of the time. Maybe 70%. Changing what chord inversion you’re in isn’t harmonic motion, it’s noodling.

The point here is that context matters above all. Playing a Cadd6 into an Am7 blurs your chord progression, because they are the same functional chord in the right hand.
Cadd6(imply C as the bass note)
C-E-G-A
Am7(imply A as the bass note)
A-C-E-G

Second example: A singer is singing a B while the intended chord, on paper, is Am. The actual chord is Amadd9, but NOT Am9. The spelling “Am9” implies the 7th is also present. In this second example, adding the seventh will muddy up/blur what the vocalist is doing.

…Or, if you want to be simple, and this is better sometimes, it’s a C/F. The issue with the C/F spelling is that is does not tell you much about what is actually happening. Chord/Bass(chord over bass) only tells you those two things.

Every note that happens vertically on sheet music or in time is harmony, and is thus a chord. A piano playing C major with a bass playing F below it creates something that isn’t either of those things. Spelling wise, it’s an FM79no3(don’t @ me, I wasn’t a jazz major), when viewed in a vacuum…

…Is the 11(D natural)coming from the vocalist so they stand out? Maybe the 11 is acting as harmonic support to the singer who is singing the 7th(G natural)?

Am11(btw, this chord spelling implies that you play the 7th and 9th as well. Thus, it is a 6-note chord) sounds dense because it is. You’re basically playing G/Am(only church musicians write it this way). It’s pretty, and it sounds good…but it lacks context in a vacuum…

I assume the reason you’re doing this is to have prettier, more dense and meaningful chords. It’s pretty simple to mash in extra scale degrees outside of 1-3-5 and get dense chords.

This is, however, a choice you can make.

All previous information was offered as it was to make it so you would be able to communicate most easily with other musicians. To skip the previous stuff and come right to this part will rob you of efficiency and a firm knowledge base…

F major
F G A Bb C D E F
1 2 3 4 5 6 7 1
F minor
F G Ab Bb C Db Eb F
1 2 b3 4 5 b6 b7 1

Minor chords scales are written as such
C D Eb F G Ab Bb C
1 2 b3 4 5 b6 b7 1
*these flats are ALWAYS the same*…

…Do not make this mistake, and do not fall for that trap or any snake oil bullshit unless you decide you aren’t doing western music anymore. This number system is *law* written in failed musicians and dead careers.

…This applies to every scale *no matter what* give or take special scales you don’t need to think about. People have tried to escape this for years…

The next step after all of that is to learn “scale degrees”. In C major you have
C D E F G A B C
1 2 3 4 5 6 7 1…