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Harmony in Goa Trance
acid being posted a topic in Music Making and Production/IndustryIn my teens I tried to make sort of techno tracks but they were incredibly primitive because I didn't understand music theory. I've just started to have another go at making music, aiming for something that is at least loosely overlapping the goa trance or psytrance genres. I doubt it will ever sound professional but it's for fun. I'm using the Phrygian Dominant scale. For a few parts of the tracks I'm using chord progressions (Strictly speaking they're arpeggios with a second note played alongside). Anyway on the track I'm currently working on I made an extra pattern with all the chords shifted up around 4 semitones (Altering a couple of the chords to keep them in Phrygian Dominant). I've got some acid lines playing at the same time as this and now on the new pattern a few notes of the arpeggios are only 1 semitone away from the notes in the acid lines, so it's dissonant. I can think of three different ways of dealing with this dissonance: 1. Leave it there. I'm not very comfortable with this because it will just sound like I've made a mistake. 2. Shift the arpeggios around or change the chords to match the acid lines. 3. Shift the pitch of the acid lines up at that point in the track, or otherwise change them so they stay in harmony with the new chords. I've read some people saying that normally at least the bassline stays rooted in a Goa trance track and other people saying a lot of tracks don't even use chord progressions at all, but I still want to use them. Basically my question is what's the norm in Goa trance, 1, 2 or 3? (I get that I have the creative freedom to try any of them to just see what sounds best, but on the other hand I don't have the best musical ear and I just want to get an idea for how this is commonly dealt with in the genre.)