This video explains chord progressions in a very straight-forward manner.
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So many teaching moments on this record 
Some common rhythms.
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You can combine any cluster of notes, but it’s good to have some sort of system behind. If you want that.
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Here’s a site with lots of training stuff. This section covers basic intervals.
Imo learning intervals is far more relevant and useful than fixed pitch identification for most musicians.
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I’ve never said anything else. Ear training for intervals is also possible ye.
Perfect pitch is for nerds in orchestras.
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Camille Bigeault explaining a 3 vs 4 vs 5 vs 7 polymeter, played in 16th notes.Some good insight.
Mad skills
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It’s indeed very impressive, but if you divide it up into smaller sections, and practice these separately (as she explains), it’s just a motoric exercise, really. Albeit a very confusing one.
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Found this video about time signatures, which I think explains the concept very well. I also like that she points out that you can interpret rhythm in many different ways. There are no real “rules” to what you can or can’t do.
I’ve been thinking about this a lot lately, because african cross rhythmic stuff is so different.
For example, I’m pretty sure (from what I’ve read and based off of listening to chaabi music), there’s no real sub division. The chaabi rhythm is 12 beats long. It doesn’t matter how you get those 12 beats. They don’t sub divide those beats, really, outside of like decorative trills and that kind of thing. It’s kind of backwards from how western music works, where we kind of say that there’s a bar, and we divide that into for beats, which we then divide again.
It kind of builds up from the twelve beats, where 2 beats is 1/6, 3 beats is 1/4, 4 beats is 1/3. A lot of african rhythms also tend to be kind of “lop sided”, or grouped unevenly.
So like the standard bell pattern is one group of 5, then one group of 7
x . x . x | x . x . x . x |
(2 2 1 | 2 2 2 1)
But it’s weird because you can also just move the pattern around however you want. Most beats can and do work as the down beat. I haven’t listened to much ogene music, but they seem to use the standard pattern, and the down beat will shift around in different songs, while the pattern stays the same underneath.
I think the best way to write it in western music is in 6/8 with eighth notes (I think I’m thinking of that right?) and you can kind of treat it like binary.
So in the daw, I fucked around with triplets in 4/4, two bars of 6/8, and one bar of 12/8. I feel like 4/4 triplets was the easiest to work with for a variety of reasons, but you can’t subdivide from there. The entire song has to stick to 4/4 triplets.
That’s part of why im jizzing myself over furnace lol. With the row highlights and grooves, it’s super fucking easy to get a chaabi feel, and the timestep makes way more sense than in the daw.
Sorry for the info dump, I’m baked rn
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The 8 in 6/8 specifies the note length value to be 8th notes. That’s why 6/4 is not the same, because then you’re talking about 6 quarter notes. Completely different feel. Time signatures are not fractions.
This is dope dude, looking forward to hear what you make.
Yeah I know. I just can’t remember what note you use to represent one beat in 6/8.
It’s literally an 8th note lol, that’s one beat. And you have 6 of those in a bar.
How you group and/or subdivide these beats is up to you.
Ok, my understanding is right then, I just suck at explaining what I mean lol.
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I hope I don’t disappoint you dad
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I’ll try to send over some project files too eventually.
Found a use for all of these checkered notebooks I had lying around. Helps to visualise things, since I suck at math.
Come at me with the autism comments lol.
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