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Harmonising lead melodies in thirds...


Dan G

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The old third above is good, aye, but not just playing a third above each note of the melody. As long as you've got two of the notes from triad of the chord, or a passing note towards one, preferably avoiding an open fifth, it'll sound great. Especially if you can get the harmony line counterpointing above and also below the main melody. I'm a sucker for suspensions too.

*drummer disguise blown*

Ahem...I mean, I like heavy sticks...

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Originally posted by Aaron Gilman:

what the fuck? i know only of 5th's sometimes 7th's and some notes.

Well think of it like this, There are 8 notes in a 'normal' scale (if you include the root note an octave up from the original note)

therefore from the root note, all following notes in a scale are gonna have different intervals in relation to it. So in the key of C major:

C - root

D - 2nd

E - 3rd

F - 4th

G - 5th

A - 6th

B - 7th

C - Root an octave up

Therefore the E note is the third to C.

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Originally posted by Dan Atom:

Well think of it like this, There are 8 notes in a 'normal' scale (if you include the root note an octave up from the original note)

therefore from the root note, all following notes in a scale are gonna have different intervals in relation to it. So in the key of C major:

C - root

D - 2nd

E - 3rd

F - 4th

G - 5th

A - 6th

B - 7th

C - Root an octave up

Therefore the E note is the third to C.

dont mean to be picky but..... the original post didnt REALLY make perfect sense as you didnt say wether it was minor / major which is quite important seeing as the third is the note that defines wether a chord is minor/major.....

heh :dunce:

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Originally posted by *Craig_HexPen*:

dont mean to be picky but..... the original post didnt REALLY make perfect sense as you didnt say wether it was minor / major which is quite important seeing as the third is the note that defines wether a chord is minor/major.....

heh :dunce:

Well so I didn't get to heavily into all the maths side of things I kept it simple so folk who don't know too much theory could join in, but just to back up my original post:

Firstly I was referring to lead melodies a la Iron Maiden, NOT chordal structures.

Generally you would harmonise in diatonic thirds - as continuous parallel thirds, (whether major or minor) sounds terrible.

So assuming you are playing in the key of E minor, and therefore harmonising in thirds, you would actually be playing major third harmonies to over half the notes, even though you are sticking within the "minor third" harmony.

E > G = minor third

F# > A = major

G > B = major

A > C = minor

B > D = minor

C > E = major

D > F# = major

Therefore, in a lead melody (assuming you are playing a variation of notes) you would neither be playing constant major OR minor thirds. Hence why I didn't say "Harmonising in minor thirds, cheesy or awesome"

However I am sure you know all this. :)

Also, not meaning to be picky, but you said "in my original post" but then quoted my second post... ?( so apologies if I haven't replied correctly.

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Sorry chief, I didn't mean it in a nasty way! But I know the various levels of theory knowledge of people who post here differs greatly; i.e if you explain stuff in too much detail you get lynched for being too mathematical, and then it gets picked up on if you don't go into enough detail! haha, can't win I suppose...

:D

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Originally posted by Cloud:

Admit it, the theory is good for when you want to create a spot of power metal :)

(although..your knowledge of Lord of the Rings is far more important :p)

Oh dear... better watch out for some up and coming Maiden Taiwan original material then -

Currently working on a song called about the Balrog in Moria lol!!! Better change our name to "Blind Guardian Taiwan" i think!

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