Logic Pro Help

This is an Audio-To-MIDI of a Duduk solo I found on the internet.
I forgot to bookmark where I got it.

But this video shows me just using this Logic Pro X script to harmonize a melody using chord formulas from D Spanish Phrygian II

This is me just playing an improv and later I found out that I played in two different keys, after I decided to stick with the Ionian scale.

While I sincerely appreciate the potential value of tools like these, "for a composer in a hurry," I frankly would caution you to avoid too much reliance on them ... if you're trying to use them to "guide you through unknown waters for which you do not have a chart." Computers can be terrific time-savers when they "do the routine math for you," but they cannot hear, and they [still ...] cannot think. Remember that. If you don't yet understand the underlying theory, please take the time to learn. Only then will you be able to leverage computerized tools in the way that their designers intended.

MikeRobinson wrote:

While I sincerely appreciate the potential value of tools like these, "for a composer in a hurry," I frankly would caution you to avoid too much reliance on them ... if you're trying to use them to "guide you through unknown waters for which you do not have a chart." Computers can be terrific time-savers when they "do the routine math for you," but they cannot hear, and they [still ...] cannot think. Remember that. If you don't yet understand the underlying theory, please take the time to learn. Only then will you be able to leverage computerized tools in the way that their designers intended.

You're more than welcome to post your music on this thread and explain "music theory" on how you see it.

Harmonize a melody and having some fun with Synthesizer V

Well, maybe it's about four months too late to reference Jimmy Webb's iconic book, Tunesmith, but in the theory-laden "middle eight" of that tome he does indeed discuss the many ways in which a melody can be "harmonized" ... and why. Very interesting reading from the scholar(!) who introduced us all to the lineman from the county ...

I finally got both of my copies signed – my hardback library copy and my now-well-thumbed softcover reading copy. When he signed that one, he commented, "this is a well-used book!" To which I promptly replied, "yes sir, that it is!" He is such a gentleman ...

"Three chords and the Truth." Yes, that's always acceptable, but in the same way that vanilla ice cream is always acceptable if you've never tasted Ben & Jerry's.® But this would never have led you to harmonize Stairway to Heaven in a way so distinctive that it led to a lawsuit ... over what turned out to be a University lesson.

Two of the core concepts in Professor Webb's could-be college textbook are "the principle of substitution" and the importance of "chord inversions." Any chord can be substituted for any other as long as it shares at least one note with the original. (Second- and third-generation "derivative substitutions" can be made as well, growing increasingly more exotic.) A simple triad of course has three notes, but sus2, sus4, +6, +7, +9 and so-on add more possibilities. A chord can also be inverted – any chord has one fewer inversion than it has notes – by moving the bottom note to the top. This "opens up" the chord: a minor-third, when inverted, always becomes a major-sixth. A "suspension" that resolved down now resolves up, and vice-versa. Chord progressions can both accompany a melody, and contain a possible melody. He systematically shows how to explore the possibilities, and just how many possibilities there are to explore.

As you can readily guess, I recommend this book to everyone. The "middle eight" is very intense, difficult reading – and worth it. Have a keyboard nearby.

Ping. Above post updated.

I took a traditional Japanese MIDI file and filtered it using the "In Japan" scale in the Key of C, then I harmoized it using random chord formulas that I selected.

Two useful things you can do and they're right there on your keyboard:

(1) Play "all white notes" but start on a note other than "C" and emphasize that note as being your selected tonic. Presto, you are now playing in "modes." (Start on "A" for example and you get "minor.") This is what "modes" actually are: a rotation of the sequence of intervals which "all white keys" makes extremely obvious: a "whole step" where there's a black key in the way, a "half step" where there isn't. (Starting with "C": W-W-H-W-W-W-H. There are seven rotations of that sequence. Each one has a pig-Latin name that you had to memorize in school, but "#1" through "#7" works just as well.)

(2) Play only the black keys and you have a pentatonic scale. It sounds "oriental." There are many such scales.

Music Theory teachers are a demonstration that you can make any very-simple concept very-difficult if you work at it hard enough.

Wow, I have a lot of 3rd party instruments/effects and so many presets within those instruments/effects too.
Plus with the scripts that I have, I create some pretty cool MIDI songs.
The Kinetic Metal demo is me just playing out something cool, then I use the scripts to find chords and generate music.

I audio-to-midi a bass from a Tony Franklin library I bought.
Then in order to play it properly with Rickenbacker Bass, I just made some adjustments to the MIDI.
Then after that, I harmonized it to A Minor.

ValliSoftware wrote:

I audio-to-midi a bass from a Tony Franklin library I bought.
Then in order to play it properly with Rickenbacker Bass, I just made some adjustments to the MIDI.
Then after that, I harmonized it to A Minor.

Uhh, that tune is in D minor, not A minor…

nice sounds!!!