So now what (theory)?

[A Skater]

Alright, I'm arranging this piece, and from what I've learned, it starts off in the key of A Lydian (so it's in the key of E).

Now, my question is...Which chords could I aug/dim/sus? How do I alter the mood of the song based on theory? I'm hoping to make this song +5 minutes of pure instrumentals, so I've written many parts in the key of A Lydian, but I would like to connect them with some mood altering chords (I'm sorry I can't elaborate on this some more).

 

[Osensei]

Re: So now what (theory)?

What style? Blues, Jazz, Rock, metal, etc. Style has a big determining factor when it comes to choosing these sorts of things.

 

[A Skater]

Re: So now what (theory)?

Well, the style I'm going for in this song is indie/alternative (ala Minus The Bear, Explosions In The Sky). If you're not familiar with those bands (I highly recommend them, they're really good at timings and such), then the only way I can describe it is that it has to be kind-of spacey and upbeat but the transitions have to be a bit sadder. So the arrangement I have goes like this thus far:

Intro riff(A Lydian)-2 times and then overlapped with an orchestra riff.

Piano/Orchestra Riff tab (all three chord progressions overlap):

E||------|------|-------|------|
B||--0---|--0---|---0---|--0---|
G||--6---|--8---|--11---|--8---|
D||--7---|--9---|---9---|--9---|
A||--0---|--0---|---0---|--0---|
E||------|------|-------|------|

E||--0--|--0---|--0---|-0---|
B||-----|------|------|-9---|
G||-----|------|--2---|-8---|
D||--7--|--6---|------|-6---|
A||-----|------|------|-7---|
E||--5--|--4---|--2---|-0---|

E||-------|------|------|--4---|
B||--10---|--9---|--7---|--4---|
G||-------|------|------|--4---|
D||--11---|--9---|--7---|--6---|
A||-------|------|------|------|
E||-------|------|------|------|

 

[Osensei]

Re: So now what (theory)?

It's easy to talk about theory, but its difficult to communicate how "it" is done. What I would do at this point is stop and try and come up with a melody for the first section (head) of the song. You'll be delighted to see how having a melodic line to work with as opposed to just having a chord progression alone will lead you in some creative directions.

Having said all that, it was not uncommon for the classical composers to modulate up a 4th or 5th or to the relative minor key. You can also experiment with modulation to keys baased on other intervals up/down:
a. 1/2 step
b. whole step
c. minor third
d. major third
c. perfect 4th (mentioned above)
d. aug 4th or tritone
e. perfect 5th (mentioned above)

And so on ...

Try major and minor keys in conjunction with some of the modulation distances mentioned above and your ear should tell you if it sounds good or not. But you heart will know once you find the real ****!

Once the key for the bridge (not a classical term) was chosen then it was not uncommon for the original melody to be dissected into fragments. These fragment were then subjected to variation by doing any of the following.

1. Playing the melodic fragments in reverse.
2. Inverting the intervalic relationship between the notes (inversion).
3. Doubling the note values (slower) or decreasing the note value by 1/2 (faster) while the backing maintained the original cadence.
4. Playing the melodic fragments upside down.
5. Playing sequences based on the newly derived melodic constructs.

In this way you have taken the original melody that you developed for the head of the tune and used some of the methods above to morph it into something that sounds different but really is the same! This is a great thing to do because on a conscious level the listener doesn't recognize the new theme in the bridge as a derivation based on the original theme. But on a subconscious level the listeners brain is able to sort things out. So on a subconscious level the listener experiences a feeling a de'javu.