Monotheism is where you take something as simple as one note, tune one finger, and convert it into a song where you play more than one finger at a time. Reformatting is where you take an existing song and play it with completely different strings, perhaps for the purpose of giving it a more soulful and modern feel.

If you have any knowledge or experience in reading music, then I am sure you know that the music from the hymnal church that plays while writing it is boring and straightforward. Have you ever been in a church where the musician or piano was reading music from carols, but you know well that what they are playing with is not what is written in carols, and wondering where is the beautiful music that they are playing coming from? They re-coordinate while playing!

The reformatting process is something you can do almost immediately after understanding the process.

Have you ever listened to a music track you’ve never heard of before, but performed by an artist you know, and you were able to get to know the artist and say “Hey, this is Stevie Wonder, or this is Ray Charles.” You managed to do it because you recognized the artists ’layouts. Musicians tend to have the preferred format that they tend to use most often. It is the musicians’ coordination, which determines the musicians and who they are. This is the format that defines artists’ ability to recognize you, even though you’ve never heard the song.

Harmony writing is usually included in a wide range of formal rules. However, harmonious music always sounds of a classic nature, and the movements of chords and kut are somewhat predictable. This is because the coordination process usually follows the traditional rules of harmony.

Music has long been formatted manually. That is, whether composers insert notes or chords into a device, such as a computer, or write them manually, they depend on their knowledge of the rules of harmony, or on what they believe sounds good in their ears. It is a tedious process, and it is difficult to understand all the many rules at once.

Automated coordination tools have been an advantage of electronic piano and electronic keyboard for many years. There are also hardware and software available to assist with the coordination process; however, the resulting format is always very sounding. The resulting ropes are usually the major, minor, seventh and diminishing traditional ropes.

The resulting coordination always appears to be classical in nature, and tendon movements are somewhat predictable. This is because the coordination process follows the traditional rules of harmony.

In post-classical music, it is sometimes necessary to break the rules to achieve a certain effect. By following traditional rules, one will not give a result of coordination denoting the musical genres of the soul, the black gospel, and R & B.

When we look at the type of gospel and spirit, melody harmony occurs without relying on the formal rules of traditional harmony. The traditional rules of harmony are being broken. You will not find any official instructions or written documents about what is happening here. It’s breaking the rules that lead to this voice and these beautiful group chat changes.

There are two issues that must be overcome to get this beautiful sound.

1) Stop playing those simple chords (for example, Major Major, VII, Dim).
2) Stop following the traditional rules of harmony.

Now let’s take a look at a simple example. We are all familiar with the (C) switch. This is the key that contains all the white keys on the piano and consists of notes (C), (D), (E), (F), (G), (A), (B) and (C).

I am sure you have several times when you want to format a song, you must use chords that correspond to (I), (IV) and (V) from the main range.

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The chord (I), the chord that corresponds to the first note of the key scale in which the song is located. So, on the scale (C), the first note is (C), so this corresponds to (C) chord.

The chord (IV), the chord that corresponds to the fourth note of the key scale in which the song is located. So, on the scale (C) the fourth note is (F), so this corresponds to (f) chord.

The chord (V), the chord that corresponds to the fifth note of the key scale in which the song is located. So, on the scale (C), the fifth note is (G), so this corresponds to the (hypotenuse).

So, in the (C) key, they tell you that the chords to use are (C), (F) and (G) to align your music. Let me be the person who told you that you used these simple ropes, and they will look boring and simple.

In almost every part of music, you’ll be able to find a chord movement that moves from a chord (V) to a chord (I). This is known as (V) – (I) is provided. In key (C), this will be a chord (G) that will go to a chord (C).

Here is an example of a wedge that notices this movement:

Chord Name / Left Hand Notes / Right Hand Notes
————————————————– —————-
Main G / G / GBD
Main C / C / EGC
————————————————– —————–
Now this looks very boring and easy.

Now let’s make the same move by breaking some rules.
For one example, the two things we’re going to do are:

1) Replacing simple chords with more advanced chords.
2) Add the ropes that are not even on the scale (C) between the ropes (G) and (C).

Here is a new chord movement

Chord Name / Left Hand Notes / Right Hand Notes

1. G9sus / G / FACD
2. G7b9 add 6 / G / FBE AP
3. Eb 6.9 b5 / Eb / GCFA
4. Db7 # 9 / Db / F AB BE
5. C 6,9 / C / EADG

We replaced the simple main string (V) (G) with G9sus, and replaced the main string (I) (C) with C6.9. These two ropes are very beautiful. We also added an extra chord (V), added G7b9 6. 6. Then we broke through the traditional rules and inserted the chords based on notes not even in range (C). There is no (Eb), and no (Db) in the scale (C).

We still have a progression (V) – (I), from (G) to (C), but we’ve added some beautiful changes in the middle.

If you tell someone that you will be playing on streaks that weren’t even on the scale (C), they would likely look at you like you have two heads and think this would be terrible. I am sure you will all agree that the above movement is beautiful. If we wanted to take things a step further, and look really good, we could also run a type of chord (Gb) and (Ab), even though both of these notes aren’t on a scale (C). This is one of the many undocumented key points about getting this audio ‘playing chords based on notes that are not in the song’s scope.

In order to get the beautiful sound you are looking for, you will have to break the traditional rules of harmony and look at things from a completely new perspective.

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